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Roland 



RS-PCM KEVBOARD 






OWNER'S MANUAL 



Roland LJ.gp 









A 



CAUTION 



RISK OF ELECTRIC SHOCK 
DO NOT OPEN 



A 



ATTENTION : risque de choc o^cmiouE ne pas ouvrir 



CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. 

DO NOT REMOVE COVER (OR BACK). 

NO USEH-SEHVICEABLE PARTS INSIDE. 

REFER SERVICING TO QUAUFIED SERVICE PERSONNEL 



A 

A 



The lightning flash with arrowhead symbol, withinan equilateral 
triangle, is intended to alert the user to the presence of un- 
insulated "dangerous voltage" within the product's enclosure 
that may be of sufficient magnitude to constitute a lisk of 
electric shock to persons. 

The exclamation point within an equilateral triangle is intended 
to alert the user to the presence of important operating and 
maintenance (servicing) instaicttons in ^e literature accom- 
panying the product. 



INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK. OR INJURY TO PERSONS. 



IMPORTANT SAFETY INSTRUCTIONS 

WARNING — When using electric products, basic precautions should always be followed, including ttie following: 



1 . Read alt the instructions before using the product. 

2. Do not use this product near water — for example, near a 
bathhjb, washbowl, kitchen sink, in a wet basement, or near 
a swimming pool, or the like. 

3. This product should be used only with a cart or stand that is 
recommended by the manufacturer. 

4. This product, either alone or in combination with an amplifier 
and headphones or speakers, may be capable of producing 
soind levels that could cause pemianent hearing bss. Do 
not operate for a long period of time at a high volume level 
or at a level that is uncomfortable. If you experience any 
hearing loss or ringing in the ears, you shoukl consuH en 
audiokjgist 

5. The product should te located so tinat Its location or position 
does not interfere with Its prqjer ventilation. 

6. The product should be located away from heat sources such as 
radiators, heat registers, or other products that produce heat. 

7. Avoid using the product vt^ere tt may be affected by 
dust. 

8. The product should be connected to a power supply only of 
the type described in the operating instmctions or as merited 
on the product. 



9. The power-supply cord of tfie product should be unplugged 
from the outlet when left unused for a king period of time. 

10. Do not tread on the power-sup^^y card. 

1 1 . Do not pull the cord but hold the p^ug when unplugging. 

12. VWien setBng up wtth any other instruments, the procedure 
should be followed in accordance with instiuction manual. 

13. Care should be taken so that objecte do not fall and liquids 
are not spilled Into the enclosure through qsenings. 

14. Tlie product shojld be serviced by qualified sendee per- 
sonnel when: 

A. The power-supply cord or the plug has been damaged; 
or 

B. Ot^ects have fallen, or liquid has been spilled into the 
product; or 

C. The product has been exposed to rain; or 

D. The product does not ^pear to operate nomially or 
exhiblte a mariced change In performaice; or 

E. The product has been dropped, or the endosure dam- 
aged. 

1 5. Do not attempt to service the product beyond tiiat described 
in the user-maintenance instructions. M other servicing 
should be referred to qualified service personnel. 



SAVE THESE INSTFlUCTIONS 



For the U.K. 



WARNING: THIS APPARATUS MUST BE EARTHED 

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. 
GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE 

As the colours of the wires in the mains lead of this apparatus may not con'espond vAlh the coloured markings identifying 
the terminals in your plug proceed as follows: 

The wire v^ich is coloured GREEN-AND-YELLOW must be connected to the terminal In the plug which Is merited by 
the letter E or by the safety earth symbol® or coloured GREEN or GREEN-AND-YELLOW. 

TTie vAre which is coloured BLUE must be connected to the tentitnal w^ich is marked wrttii the letter N or coloured BLACK. 

The wire which is coloured BROWN must be connected to the temiinal which is merited with the letter Lor coimjred RED. 



T>ie product which is equipped with a THREE WIRE GROUNDING TYPE AC PLUG must be grounded. 



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Thank you for purchasing the U-20 
RS-PCM keyboard. The U-20 contains 
high-quality digital sounds, and can be 
used as a multi-timbral sound generator. 
It also functions as a MIDI keyboard 
controller, for a wide range of applications 
both on stage and in the studio. To take 
full advantage of the U-20's potential 
and ensure long and trouble-free use, 
please read this owner ' s manual 
carefully. 



How to use this Manual 

This owners manual consists of the following 
five sections. 

Section "Playins : stepi": 

This tells how to hear the ROM play (the demo 
performance), and esgilains the basic organiza- 
tion of the U-20. Next, you will leam how to 
select and play the various sounds. 

Section I "Playing : step2" : 

This explains the performance functions of the 
U-20, and how they can be used to enhance 
your playing. 

Section II "Editing": 

This section explains basic procedures for 
creating sounds and making settings. Read this 
section when you want to create your own 
sounds. 

Section III "System Setups": 

This section explains basic concepts of MIDI 
that are important when using the U-20, and 
how to take advantage of the U-20's MIDI 
functions. If you will be connecting the U-20 
with other MIDI devices, be sure to read this 
section. 

Section N "Summary": 

This section summarizes the operations of each 
mode , explains the overall organization of 
editing operations, and how to store and manage 
data. 

*You do not need to know about MIDI in 
order to use the functions explained up to 
section H. 



CONTENTS 

FEATURES 
IMPORTANT NOTES 
FRONT AND REAR PANEL 



5 
6 
7 



SECTION 



Playing : step 1 



D BEFORE YOU PLAY 

1. Connections 

2. Turn the Power On- 



m LISTEN TO THE ROM SONGS 
m INTRODUCING THE U-20 

m TRY OUT THE SOUNDS 

1. Select and Play sounds in 
Link Play Mode 

2.P!ay the Sounds (Part Play Mode) 

3.Play the Rhythm Sounds 
(Rhythm Play Mode) 

■Checking the Selected Parts 

■Master Tuning 

■Editing procedure using the 
Jump function 



10 

10 

n 

12 
13 
18 

18 

19 

21 
22 
23 

24 



SECTION I 



Playing : step 2 



D USING AND SETTING THE 
PERFORMANCE FUNCTIONS 

I.How To Use the Play Functions 

a. Keyboard control functions — 

b. Panel control functions 

c. Pedal control functions 

d. Useful performance functions ■■ 
2.Write the Edited Performance 

Function Settings 

a. Name 

b. Write 



m CREATING A CHORD SET 

a. Editing a chord set 

b.Chord set name 

c. Writing a chord set 

into memory 

■Adjusting the Display Contrast 



26 

■26 
•26 
•27 
■28 
■29 

36 
36 
37 

39 

39 
42 

43 
44 



SECTION n 



EDITING 



D BEFORE YOU CREATE 

YOUR OWN SOUNDS 46 

1 .Tones 46 

2.About the Multi-timbral 

Sound Generator 47 

3.Sound Creating Procedure 48 



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m SOUND PATCH SETTINGS 49 

1. Editing a Sound Patcl-i 49 

a.Settings for each Part (1—6) 50 

b. Rhythm part settings 52 

c. Effect settings 53 

d.Name 56 

2.Storing a Sound Patch 
(Writing Procedure) 57 

m EDIT THE TIMBRE SETTINGS 58 

1 .Timbre Editing 58 

a. Tone select 59 

b. Level 61 

c. Pitch 63 

d. Vibrato 65 

e. Timbre name 67 

2.Storing Timbres (Write Procedure) •■■ 68 

Q RHYTHM SET SETTINGS 69 

1. Settings for Each Key 70 

a.Selecting tones 71 

b. Level 72 

c. Pitch 74 

d. Output 76 

2. Other Settings 77 

S.Storing a Rhythm Set 

(Writing Procedure) 79 



SECTION m 

SYSTEM SETUPS 



D ABOUT MIDI 82 

l.How MiDl Data is Transmitted 

and Received 82 

a. Connections 82 

b.MlDl channels 84 

2. MIDI Data Used by the U-2a 85 

g HOW THE U-20 USES MIDI 88 

1. Editing the MiDl Parameters 88 

a. Editing procedure 88 

b.MIDI parameters 89 

2. Musical Performance Data 91 

a. Keyboard Patch • 91 

b.Setup (keyboard) 93 

C.Sound Patch 
(part 1—6, rhythm part) 94 

S.Program Change 96 

a.Selecting Patches and Timbres 

from an external MIDI device- ■■■■■ 97 
b.Transmitting program changes 
from a Keyboard Patch 99 

4.Using Controllers 1 01 

5. Exclusive Messages 1 07 

■Local Control Switch (Off, On) 1 08 

■Tx Active Sensing Switch 
(Off. On) 108 

■Writing Procedure for 
MIDI Settings 1 08 

■MIDI Settings of Factory Settings ■■ 1 09 



m TAKING FULL ADVANTAGE 

OF THE U-20 110 

1. Using the U-20 by itself 110 

2. Using a Sequencer 113 

■Velocity Offset and Sensitivity 115 

S.Using Externa! Sound Generators ■•■ 1 1 6 
■Voice Reserve 117 



SECTION IV 



SUMMARY 



D PLAY MODE OPERATIONS 

AND FUNCTIONS 120 

a. Playing functions 1 20 

b.The three Play modes that 

use Patches 1 22 

c.Part Play mode/ Rhythm 

Play mode 1 23 

a EDIT MODE OPERATIONS 124 

1 .Edit Procedure 1 24 

2. The Jump Function 125 

SDATA MODE OPERATIONS 128 

1. Using a RAM Card 128 

2. Write Operations 131 

a. Writing a patch 133 

b. Writing a timbre 136 

c. Writing chord sets/rhythm sets- -139 

S.Saving/Loading Data 142 

4.Data Transfer Using MiDl (Dump) •• 143 
a. Data transmission by group 

(bulk dump) 145 

b. Patch Dump 146 

c. Transmitting data of the specified 

parameter (parameter dump) 146 

5. Utilities 1 47 

a.lnitialize (Data/Utl/lnitialtze) 147 

b.MIDI Monitor 
(Data/ Utt/ MIDI Monitor) 1 49 



SUPPLEMENTARY MATERIAL 

1. Error and other Messages 152 

2. Troubleshooting 1 54 

3.0peration Map 156 

4. Parameter List 1 58 

5. Factory Setting 1 62 

e.Preset Tone List 166 

7.lnitialized Settings 170 

8.Blank Charts 173 

MIDI Implementation 1 78 

Main Specifications 1 93 

Index 194 



Copyright ©1989 by ROLAND CORPORATION 

All rights reserved. No part of this publicBtion may be reproduced 
in any form without the permission of ROLAND CORPORATION. 



FEATURES 



The U-20 has features such as ; 



•High-quality RS-PCM Sound Generation 

The U-20 contains 128 types of high- 
quality sound, ranging from piano to 
instruments appropriate for a classical 
or jazz ensemble, and synth sounds for 
rock or fusion. Parameters (elements of 
sound) for pitch and level can be used 
for detailed control over the nuances of 
each tone (sound). 

In addition to the built-in tones, tones 
from PCM cards (sound Hbrary SN-UllO 
series) sold for the U-llO can also be 
used. 

#Multi-timbral 

The U-20 contains a multi-timbral sound 
generator that can handle 6 parts and 
an additional rhythm part. The sounds 
(timbres) and effects of each part can 
be stored in 64 different settings as 
sound patches. When using a MIDI 
sequencer, a single U-20 can fill the role 
of an entire ensemble. 
For the rhythm part, tone assigimients 
and settings can be stored as one of 
four rhythm sets. 

•Flexible Control Functions 

Settings determining how controllers 
affect performance can be stored as one 
of 64 keyboard patches, allowing you to 
modify sounds as you play, or control 
different types of external tone 
generator. 

•Built-in Digital Effect 

A digital reverb/chorus effect is built 
in, providing a spacious feeUng of 
stereo depth. Each sound patch has its 
own effect settings. 



•Chord Play Function 

A chord can be assigned to each key, 
allowing you to play chords with a 
single finger. Since a different chord 
can be assigned to each key C, C# — B, 
you can perform using diatonic chords 
or harmonies in thirds. Eight sets of 
chords can be stored in the U-20 (one 
set includes C, C#— B). While playing, 
you can instantly switch between any 
two previously specified sets of chords. 

^Arpeggio Play Function 

A chord you hold down can be 
automatically arpeggiated. An arpeggiation 
pattern can be set for each keyboard 
patch, allowing you to use the musically 
appropriate pattern for each situation. 
Arpeggio can be switched on/off using 
a button, and can be used in conjunction 
with the chord play function. 

iJump Function 

The jinnp function allows you to 
instantly jump to a specified screen. In 
addition to the pre-defined screens, you 
may also define your own. Using the 
jump fimction can .-make the editing 
process more efficient. 

IRAM Card for Convenient Data Storage 

A separately sold RAM card (M-256E) 
can store the entire settings of the 
U-20. Patches stored in a RAM card can 
instantly be recalled for use. 



IMPORTANT NOTES 



In addition to the safety instructions on page 2, please note the following points. 



Concering the Power Supply 



►Whenever you make any connections 
with other devices, always turn off the 
power to all equipment first This will 
help in preventing malfunction , and 
damage to speakers. 

IDo not connect the unit to the same 
power outlet as one used for distortion 
producing devices ( such as motors , 
variable lighting devices). Be sure to 
use a separate power outlet. 



Concering Placement 



^Should the unit be operated nearby 
television or radio receivers, TV pictures 
may show signs of interference, and 
static might be heard on radios. In such 
cases, move the unit out of proximity 
with such devices. 



Maintenance 



IFor everyday cleaning, wipe the imit 
with a soft dry cloth, or one that is 
dampened shghtly. To remove dirt that 
is more stubborn, wipe using a mild, 
neutral detergent Afterwards, make sure 
to wipe thoroughly with a soft cloth. 

►Never apply benzene, thinners, alcohol 
or any like agents, to avoid the risk of 
discoloration and deformation. 



Other Precautions 



►Protect the unit from strong impact. 

►Avoid getting any foreign objects 
(coins, wire, etc.), or liquids (water, 
drinks, etc.) into the unit. 

lA certain small amoimt of heat will be 
radiated from the imit, and this should 
not be considered a malfunction. 



►Before using the unit in a foreign 
country, check first with your local 
Roland Service Station. 



Concerning Memory Backup 



I The unit contains a battery which 
maintanis the contents of memory while 
the mam power is off. The normal life 
of this battery is 5 years or more, but 
it is strongly recommended that you 
change it every 5 years as a nile. When 
it is time to change the battery, contact 
a Roland Service Station. 
* The first time you need to change the 

battery couid occur before 5 years have 

passed. 

►When the battery gets weak the 
following will appear in the display. By 
this time, it is possible that the contents 
of memory have already been lost. 
"Internal Battery Low 1 " 

^Please be aware that the contents of 
memory may at times be lost ; when 
sent for repairs or when by some 
chance a malfimction has occurred. 
Important data should be saved on RAM 
Card, or written down on paper. During 
repairs, due care is taken to avoid the 
loss of data, however, in certain cases, 
such as when circuitry related to 
memory itself is out of order, we regret 
that is may be impossible to restore the 
data. 



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Playing : step 1 



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H INTRODUCrNb THE U 2w 
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n BEFORE YOU PLAY 



1 . Connections 



Connect the rear panel MIX OUT jacks to the input jacks 
of a keyboard amp or mixer. When playing in stereo, use 
the L and R jacks. When playing in mono, use only the 
L (MONO) jack. Before making connections, make sure 
that the power switches of the U-20 and the amp are 
off. When using headphones, insert the headphone plug 
into the PHONES jack. 




Pedal Switch 
(DP-a DP^, ate) 



Expression Pedal 
CEV-^ EV-10. etc) 



Stereo Amp 



*The U-20 does not contain a built-in power amp or spaalcer. 
and will not make sound by itself. 

* When sinipped, the U-20 is set so that no sound appears at the 
DIRECT OUT jacks. 

*When connecting the U-20 directly to a stereo system, be 
careful of the output level. Excessively high levels can damage 
the speakers etc. of the stereo system. 

* To take full advantage of the U-20, we suggest that you play 
it in stereo. 



10 



2. Turn the power on 



2. Turn the power on 



©Check that connections for power and external equipment (amplifiers, etc.) are correct 

(DTum the power switch of the U-20 on. 

In a short time the following message will appear. 



RS-PCM Keyboard 
Roland U-20 



Then the play mode indicator will light, and the patch name will be displayed. 



I~il #001 
I-ii #001 



St-andard 
flc-oust- Piano 



(DTurn the power of the external equipment (amplifiers, etc.) on. 

Now you are ready to play. 



* After the power is turned on, the U-20's protection circuit 
inserts a short delay before operation begins. 



11 



S LISTEN TO THE ROM SONGS 



The U-20 contains 2 demo songs that demonstrate its miilti-timbral capabilities. ROM 
play mode automatically plays these songs. 

* When using the ROM play function, we suggest that you 
connect a stereo amp system or listen through headphones in 
order to get the full benefit of the U-20's muiti-timbral 
capabilities. 



©Simultaneously press the [PARTJ and I RHYTHM 1 buttons to enter ROM play mode. 

RHYTHM 



PART 

-m 




RO 



AY 



3 



Song ttl HVPER JflZZ 
Press center: to Start 



® To sto p playback, press 

nxm . 



I Press I ENTER I and 
playback will begin. 



tntoim soMi fwtr iwraw sr wi« an nam ^ »- 

raraara izzicz] czii jj \cn 

IM. «« «Jiv orem nut 

c^nc^Dcrac^ cnczi i ii — icma 



1 


HYPER JAZZ 


Music by Amin Bhatia 
©1989 by Amin Bhatia 


2 


u-rcx;k 


Music by S. Nakamura 
©1989 by Roland Corp. 



cwn/B 1 1 3 I 5 1 ' 1^ 

HD iziiiiziizziimcncDnDiiz] 



d I II II ICIlCIltlllCIDCZl 



CD Use the NUMBER [T]. H} buttons to specify 
the song. Songs will be played succes- 
sively, starting with the selected song. If 
you do not specify a song, playback will 
begin with song 1. 



VOLUME 



w> 



Use the VOLUME slider to adjust the volume. 



* It is often convenient to check connections and volume while 
using ROM play. 

* To use the U-20 to play songs as in ROM play, you will need 
a separate MIDI sequencer. 

* The keyboard and bender will not function during ROM play. 

* The notes and other musical data being ROM played will not 
be transmitted from MIDI OUT. 



12 



INTRODUCING THE U-20 



How the U-20 is organized 

The U-20 consists of a keyboard controller section and 
a multi-timbral sound generator section. 



MIDI OUT MIDI IN 



Setup section 




r°nrn 



Settings shared by all keyboard patches 



Keyboard controiier section 



Keyboard patch 

Performance function 
settings 




rmimril li I ! II — II — I 

NUMBER 

iiiiCDcziiiniiiicDiiniiii 

Settings shared by all sound patches 



Mulfhtimbral sound generator section 



Sound patch 



Part 1 



Part 2 



Part 3 




Part 6 



_■ 

Rhythm part 



Effects 



Timbres 



Tone settings 



All— ASS. B11— BBS 
CI 28 types) 



Rhythm sets 



1 __4 (4 types) 



11— 88 (64 types) 



OmO) 



MIX OUT 



© 




O 



ooooo 




13 



S INTRODUCING THE U-20 



tMulti-timbral Sound Generator Section 

The multi-timbral soimd generator can store 64 Sound 
Patches. Each Sound Patch consists of Parts 1 — 6 and 
a Rhythm part. 

Each part corresponds to a musician. For example, part 
1 might be a pianist, part 2 might be a bassist, etc. It 
goes without saying that the rhythm part is the drummer. 
The instrument (timbre) used by each musician can be 
freely selected, and changed even while playing. The 
rhythm part can select from four types of drum / 
percussion sets (rhythm sets). In addition, each Sound 
Patch can specify the volume of each instrument (level), 
the position of each instrument (pan), and the ambience 
of the performing environment (effect). Also, the soimds 
of two or more Parts can be combined to make even 
richer, more complex sounds. In this way, you can create 
Soimd Patches with various combinations of instruments, 
and instantly change to an entirely different instnunental 
ensemble simply by selecting a Sound Patch. 

IKeyboard Controller Section 

The controller section sends playing instructions to the 
musicians. When you play the keyboard, the instrument 
of the specified part will sound. Use the bender lever 
to add vibrato or pitch change. Controller section settings 
can be stored as one of 64 keyboard patches. 
When using a MIDI sequencer etc., you can use the 
keyboard to play along with the sequence. 
The U-20 can also be used as a keyboard controller to 
control external sound generator modules. 



14 



INTRODUCING THE U-20 



The Modes of the U-20 

The U-20 operates in 
Play mode, 

Edit mode, in which you modify or edit various settings, 
and 

Data mode, in which you can store the results of your 
editing, and transfer data. 



tPlay Mode 



The U-20 has 6 play modes. 

In Link Play mode, Keyboard Patch mode, and Sound Patch 

mode, you can select Patches from the front panel. 

In Part Play mode, you can select one of the six Parts, 

and play it from the keyboard. 

In Rhythm Play mode, you can use the Rhythm Part to 

play rhythm sounds from the keyboard. 

In ROM Play mode you can listen to the U-20's 

demonstration songs. 



Play mode 


Part played by the keyboard 


Selected by the BANK and NUMBER buttons 


Link Play mode 


Parts specified by the 
Keyboard Patch 


Keyboard Patch and Sound Patch 


Keyboard Patch mode 


Keyboard Patch 


Sound Patch mode 


Sound Patch 


Part Play mode 


Part selected from Parts 1— -6 
(use the panel buttons) 


Timbre 


Rhythm Play mode 


Rhythm Part 


Rhythm Set 


ROM Play mode 


Keyboard Is inactive 


ROM Play song 



»Edit Mode 



In this mode you can edit (change or modify) various 
control settings and tone settings. With a few exceptions, 
edited settings are temporary. K you want to keep your 
edited settings, use data mode operations to store them 
into internal memory or a separately sold RAM card. 



(Data Mode 



In this mode you can store edited settings into internal 
memory or a separately sold RAM card, or transmit data 
via MIDL 



15 



INTRODUCING THE U-20 



►Link Play mode (simultaneously selecting a Keyboard Patch and Sound Patch) 

Example : selecting Patch 1-33 



PLAY MODE 



KEYBOARD SOUND PART RHYTHM 



i ^^^^ 1 L_ ^^^ p^^ __j 

Select a Keyboard Patchy/Sound Patch 

ct-n— 88. c-ii— as) 



□dncbacfjrnrHizii 



... ■ ■■■ — >11-T% . | . ■.■^- 

1 2 3 4 B B " X__ 6 

[ZDCZICZICIZIIZIJI — II II I 



Keyboard Patch 

vr 1-33 


Sound Patch 
1-33 

1 2 3 


R 


Keyboard Patch 
1-11 


Sound Patch 
1-11 




1 


2 


3 








4 


5 


6 


R 




1 1 




1 





(Keyboard Patch mode (selecting only a Keyboard Patch) 

Example : selecting Keyboard Patch 1-33 



PLAY MODE 



KEYBOAraa SOUND PART RHYTHM 



izrir 



3 



LINK — ROM PLAY 

Select a Keyboard Patch (1-11—88. C-II— 88) 



-Mt&i. 



rhr^ diiiziii-LiLljiziitfj 



\ 2 3 A S E 7 e 

C=] CH CZI LZ] [=3 1=1 CU CZ] 



/' 



Keyboard Patch 
i-33 



Keyboard Patch 
1-11 



•Sound Patch mode (selecting only a Sound Patch) 

Example; selecting Sound Patch 1-33 



PLAY MODE 



b^_*mi^^ , t. ,,tf _______J ^^^ 



KEYBOARD SOUND PART RHYTHM 



3 



LINK ROM PLAY 

Select a Sound Patch (H 1 —86, 0-1 1 —88) 



..£»«L. 



r-HrhrHrSrbacJ^cJn 



[±3I±lI±]E±]d3I±][=3C=] 



/' 



Sound Patch 
1-33 



m 



Sound Patch 
1-11 






16 



m INTRODUCING THE U-20 



►Part Piay mode (selecting a Timbre) 

Example : selecting Timbre A33 for Part 1 



PLAV MODE 



KPi^OARD SOUND PART RHYTHM 

e: 



LINK — ROM PLAY 

Select B Timbre (All— ABB. B11— B8B) 



3 



-£ANK- 



1 g 3 4 B e 7 B — 

[=!I=]EI=!C=]IZZ]C3IZ=II±] 



±ld=l±}d3d3€hd3^ 




■* PART K Sfttoot a Pert (1 —6) 



mhythm Play mode (selecting a Rhythm Set) 

Example : selecting Rhj^hm Set 3 for the Rhythm Part 



PLAY MODE 



KEYBOARD SOUND PART RHYTHM 



' — , i.|„ I I 



LINK 



ROM PLAY 



3 



Select a Rhythm Sat 

CI— 4) (Use only NtfflTOHlIIHS) 



[==IE±][±IIZII[±II±li±]I±] 

-1 — 3 — 3 — r-BE^ — I — -, — r- 

czicnizzii II — lizzicziczi 



R 



Rhythm Set 3 



Rhythm Pert 



Rhythm Set 1 



►ROM Play mode (selecting the ROM Play song) 

Example : selecting ROM Play song 2 "U-ROCK" 



PLAY MODE 



KEYBOARD SOUND PART RHYTHM 



LINK 



n 



ROM PLAY 



3 



Select a ROM Play aong 

CI. 2) CUse only NtflWBBilBCS) 



l±3t±][±IE±lc5S5S 



□□□□diicziciiii 



/' 


ROM Play song 2 
"U-ROCK" 


ROM Play song 1 
"HYPER JAZZ- 











17 



Qtry out the sounds 



Here we will explain how to select play sounds in each of the play modes. 



1. Select and Play sounds in Link Play Mode 



In Link Play mode, pressing panel buttons will simultaneously select a Keyboard 
Patch (determining how the sounds are played) and a Sound Patch (determining 
which sounds are played). When shipped from the factory, the memory contains data 
intended to be played in Link Play mode. 
By selecting a bank 1—8 and a number 1—8, you can select from 64 Patches. 



Enter Link Play mode. 

PLAY MODE 



KEYBOARD SOUND 



PART 



RHYTHM 




ROM PLAY 
TRANSPOSE CHOFyS 1 CHORD 2 ARPEGGIO 



I -33 #0 1 9 ' ****H-:H-: + + 
1-33 #019 ! *^t:^^:^^:**^^:* 



Use BANK Q]— S and NUMBER [T]— [s] to select Patches. 
For example, here's how to select Ml. 



a 3 T 6 6 7 B 

II II It inni II icn 



2 3 * g^ 6 7 a 

Jcziiziiizziizzii II ira 






12 3' 5 6 7 B 

cni—Ji i czii — I I — ii=i]c=i 



Keyboard Patch name 

1 



Standard 
Rcoust Piano 



1 Z 3 ^ E B 7 B 

IDi II IEl_il II IL-II — I 



Sound Patch name 

The display will show the number and name of the selected Patch. 

Play the keyboard to hear the sound you have selected, and then select and play other Patches. 
The included sound patch chart shows the Patches available. 

* The Patch will change when you select the number. Simply 
selecting the bank will not change the Patch. 

*You can use [v]VALUE[a] to step through the Patches one by 
one. 



18 



2. Play the Sounds (Part Play mode) 



2. Play the Sounds (Part Play mode) 



In part play mode you can use the Keyboard to select and play various sounds 
(Timbres) using a single Part of the selected Sound Patch (select from Part 1- 
6). Part play mode is convenient when checking the settings of each Part, or when 
editing sounds. 

You can select from 128 Timbres, organized as group A/B. bank 1-8, and number 
1—8. 



Enter Part Play Mode. 

(T) PLAY MODE 



KEYBOARD SOUND PART RHYTHM 



LINK ' ^'\, PLAY—' 

TRANSPOSE CHORD 1 CHORD 2 ARPEGGIO 



Part number 

_J__ 



Part. 1 : ReM P : >< U : @ 

I~E33 #SS3! *^l■:*^^:*^^:H■:^f:*:+:^t:lt: 



Timbre number 



Timbre name 



Select and play Parts, noticing the various sounds assigned to each Part 

CD PART _ 

EXIT ENTER -* »_ ▼ 



CURSOR 



v^n. 



Parti 0: Cho F: >< U: 9 

I -•B36 #086 ! if:*********** 



Play the keyboard to hear the displayed Timbre. 



Next, select a different Timbre. Use group (A/B), bank (1-8) and number (1-8) to select a 
Timbre. 

(3) CARD/a 



INT/A 




Par-t 1 : Cho P : >< \j : e 

li ^H^^:^f:H■:^t:^^:^^:^f:Jf:^^:*H■: 



® 



dndndndnSSSS 



dndndn^juSSSS 



Part 1 s Cho P : >< U : S 



1Q 



2. Play the Sounds (Part Play mode) 



■ ■■■■ ■..■:■. rr* " " J 

i±][±]i=:3nz][±3i±i[zi]t=i 

— i 2 S ?"**^|- 6 7 T" 

LnJI iC3l II II H ti I 



Part-l 0:Cho P: >< U!0 
I-Rll #001= 1=1- Piano 2 



The included "Timbre Chart" lists the available timbres. 



* The sound wili change when you specify the number. Simply 
selecting a group or bank will not make the sound change. 



* Press [v]VALUE[a] to step through the sounds. 

* In part play mode, notes you play will not be transmitted from 
MIDI OUT. 

* Depending on the settings of the selected sound patch (key 
range, velocity range, see page 95), the resulting sound may not 
be what you expect. 



Keyboard Patch mode 



When you want to select only the Keyboard Patch, press jKEYBOARDl . When you press panel 
buttons to select a patch, only the Keyboard Patch will change. 

Sound Patch mode 



When you want to select only the Sound Patch, press I SOUND j . When you press panel buttons 
to select a patch, only the Sound Patch will change. 



20 



3. Play the Rhythm Sounds (Rhythm Play Mode) 



3. Play the Rhythm Sounds (Rhythm Play Mode) 



To play the rhythm sounds from the keyboard, enter rhythm play mode. Rhythm 
play mode is useful when checking a rhythm set, or when editing sounds. 



Enter rhythm play mode. 

(T) PLAY MODE 

KEYBOARD SOUND 



LINK 



n 



PART RHYTHM 

ROM PLA-fl^ 

TRANSPOSE CHORD 1 CHORD 2 ARPEGGIO 



I-Rl s Standard Set U: & 
C2 : I-12S So:C2 Mu:Off 



When you play the keyboard, the rhythm sound corresponding to each key wiU sound The display 
win show the note name etc. of the key you pressed. For the factory settings, refer to the table 
at the end of this manual 



lllf 



I-Rl: St.3ndard Set UsS 
D2 : I-12S So:D2 MuiOff 



Use NUMBERQ]— [3 to select another rhythm set. 



E±]|±][=IC±I[±3dlIE±]li 



, ' a 3„ „_ i E B 7 6 ' 

izncjQr-ii— i[=]izz]i iL=i 




I~R2: Dry Set U: S 
D2 ! I-12S So:D2 MusOff 



* Press [v]VALUE[a] to step through; the rhythm sets. 

* In rhythm play mode, notes you play will not be transmitted 
from MID! OUT. 



About Rhythm Sets 

A rhythm set is an arrangement of rhythm sounds assigned to each key (note). A different 
sound can be assigned to each of the U-20's 64 keys Bl— D7. Internal memory can store 
four rhythm sets. A rhythm set can be selected for a rhythm part. 



91 



I Checking the Selected Parts 



■ Checking the Selected Parts 

The U-20's multi-timbral sound generator has 6 Parts and a Rhythm Part, hi play modes 
which select Patches, such as Link Play mode, the Parts specified by the Keyboard Patch 
will determine which Parts are used. Here's how to see which Parts are currently being used. 

Enter Sound Patch mode. 



PLAY MODE 



KEYBOARD SOUND PART RHYTHM 



-f1 



IT 



ZJ 



I-ll #001 : Standard 

I-l 1 #001 s flcoust Piano 



LINK T 'T — ROM PLAY 

TRANSPOSE CHORD 5 CHORD 2 ARPEGGIO 



Press CURSORH- ('* V^" P^^^ H^^R^OR y°" ^''' return to the previous display-) 



PART 



EXIT 



ENTER 



CURSOR 










V 


a_ 


LIE 

A 









Part 1 Part 3 

Part 2 



Part 5 Rhythm Part 
Part 4 Part 6 

1 I 1 



RX 1011 ** 1 ** I ^:* 1 ** 1**1 10 

I-l 1 #001 ' flcoust- Piano 



*The upper line of the display shows the Rx channel of each Part. 

The Rx channel of the Part specified by the Keyboard Patch will be shown as an X symbol. 
(With the factory settings, Parts specified "01" are used.) 



Ill 



f) 



Rx I hT- 1 ** I ** 1**1 ** I ** I 1 9 

I-ll #00 1 : flcoust P i ano 



22 



I Master Tuning 



■ Master Tuning 

When you need to modify the overall pitch of the U-20, use the foUowing procedure to make 
fine adjustments in pitch (tuning). 



Get the master tuning display. 

EDiT DATA 



F" a r 1 1 s R e v P s > •=:: U s 

Jup-ip! Select. Switch. 



MARK 



JUMP 




I II 11 ^1 II II II i' i 



1 Z 3 4 E B 7 



Edit. .■■■■ b e t. 1.J F- y' M - T u n e 



Use i V IVALUEl A 1 or the VALUE slider to adjust the pitch. 

(D C2/VALUE VALUE 

V A 



I 



Edit .-•■ S e t '.4 F -■■•■ M » T u i-i e 

Master Time^^^mmMH: 



When you are finished, return to play mode. 



PLAY MODE 
KEYBOARD SOUND PART 


- 


RHYTHM 




I- 
I- 


-1 1 
-1 1 


#001 

#001 


btandard 
fie oust Pi 


a ri o 


r> 


^ 
^ 


7 












TRANSPOS 


/ 




ROM 
CHORD 2 


? 


LAY 
ARPEGGIO 




CHORD 1 

































*ThB displayed value shows the approximate frequency of the pitch of the A4 key. 
*The nnaster tuning setting will be remembered even when the power is turned off. 



a3 



■ Editing procedure using the Jump functbn 



■ Editing procedure using tlie Jump function 

The U-20's jump function allows you to quickly move to a desired display. You can use the 
jump function for more efficient editing. The owner's manual will 'explain procedures for efficient 
use of the jump function. 
Editing procedure using the jump function is as follows. 

(T)Use the jump function to jump to the desired parameter display (menu display). 

©In a menu display, use glCURSORl^ ^o select the parameter group, and press | ENTER | 

(a parameter display appears). 
(Din a parameter display, use |2]CURS0R|3 to select the parameter. 
®Use[v]VALUE[T]or the VALUE slider to modify the value. 
©When , finished, press the play mode select button to return to play mode. 

* For -details of the editing procedure, see "Edit Mode Operations" (c^page 122). 
„* Some of. the jump destinations can be re-definsd by you, to fit your needs better. If you 
■ are.^using .the U-20 for the first time, and the jump destinations are different than those 
explained in the manual, you can use the following procedure to reset the 
destinations to their factory settings. 



jump 



iVEDIT 



DATA 



J U fl F- " 



S e 1 e G t- b i.'.i i t- c. h 




EDIT 



DATA 



I ri i t- i a 1 i :z e J u n'l f=- P a 9 e 
Sure? CENTER] ■ ..-• LBXITI 



MARK 



JUMP 




FART 



EXfT 



ENTER 



CURSOR 










- v/ 
V 


'- 


JE 









I rr i t. i a 1 i z e J i-t fi p F' a 9 e 
F 1-4 n c- 1 i o n C o n f- 1 e !■ e : 



The jump destinations wl!l be reset to their factory settings, and 
you wiil return to the previous display. 



24 






In secton I we wdl explain how to use the performance functions to enhance your playing 
Try out the operations explained here for yourself and see how they sound. 




:x^&^i^ Sit n^ 



■^^' 



-^H- 






._VX&^1-'^ * 



Playing : step 2 



^v 



\C*- "C 



We? .- ;- 



i.S-^ 






l-'jf',-' jj' ^'' -^^ 



r 






'--^ at 









1 t^rl^'^^i;*' 



""'* .c? t ^" "^ ( ■"M_'~ ■-''H . i ■' ~ li- I w , ' 7"iJ- --'■,£»i ,"»»-., (V? - ■ 






i- . t 













t 












v^' \ 












5 ;^1 *-r 



.^'^^ 



-i^ 



4Vc' 



-^ 



s: 






r^'- "til 3 ''^t T^ 




"Af^. 



■^■* 



BUSING AND SETTING THE 
PERFORMANCE FUNCTIONS 26 

1 How To Use the Play Functions 26 

a. Keyboard control functions ■'■ • •'• ■ ■ ■ ■ 26 

b. Panel control functions — '. 27 

c. Pedal control functions 28 

d. Useful perf onnance functioins '• — ■ ■ - — 29 
2. Write the Edited Performance 

Function Settings 36 

a. Name 35 

b. Write 37 

gCREATlNG A CHORD SET 39 

a. Editing a chord set 39 

b. Chord set name 42 

c. Writing a chord set into memory 43 

■ Adjusting the Display Contrast ■ ■ 44 

— !■ 

T = '•" ~h J ' V < 












Q USING AND SETTING THE PERFORMANCE FUNCTIONS 



1. How To Use the Play Functions 



Here we will explain how to use and set the performance functions, and simple 
settings for them. The resulting effect of these play functions is determined by 
each sound. Depending on the selected sound, the play functions may have a different 
effect, or no effect at all. 



In section 0, you listened to the sounds using each of the Play modes. To follow the explanation 
rn this section, please enter Link Play mode. 



PLAY MODE 



KEYBOARD SOUND 



PART 



RHYTHM 




i-ii #@ei 

I-il #981 



■ROM PLAY 
TRANSPOSE CHORD 1 CHORD 2 ARPEGGIO 



Standard 

fie oust Pi a no 



a Keyboard control functions 

The sound can be affected by how you play the keyboard. 



►Velocity 



The force (speed) with which you play a key is kno-wn 
as the "velocity". The velocity can modify the volume. 




When you press a key slowly, 
a quiet sound is produced. 




When you press a key quickly, 
a loud sound is produced. 



►Aftertouch 



Pressing down on a key after playing it can modify the 
pitch/vibrato/volume. This is known as "aftertouch". 




Press down firmly. 

* For some sounds of the factory settings, aftertouch will have 
no effect. 



26 



1. How To Use the Play Functions 



b. Panel control functions 

The front panel provides the following ftinctions to use while playing. 



VOLUME Slider 

Adjust the volume output from the MIX 
OUT jacks and the headphone jack. 



Bonder/ Modulation tevar 

Add pitchbend and modulation (vibrato) 
effects 



C1 Slider. C2/V0LUME Slider 

Control level, tone, effect, etc. 



B 



I 



- g=^a 



II 



#Bender/ Modulation Lever 



The position of the bender/modulation lever can affect 
the pitch or vibrato as follows. 

Vibrato (pitch modulation) becomes deeper. 



ir 



Lower the Pitch '— ^ I \ ^-J Higher the Pitch 




BENDER 



»C1 Slider, C2/VALUE Slider 

The CI and C2 sliders can be used to control internal 
sounds or to control external sound generators. Each slider 
can be assigned to control something different. With the 
factory settings, CI and C2 are not assigned to control 
internal sounds. 

* The control functions correspond to MIDI control changes. 

* To set the function of the control sliders , see " Using 
Controllers" (crpage 101). 



27 



1. How To Use the Play Functions 



c. Pedal control functions 

Pedals connected to the rear panel jacks can perform the following control functions. 



-CONTROL INPUT. 



PEDM. 
HOLD 



EXT 
CONTROL 



r 

Roland i 



Roland 



Pedal Switch 
CDP-a DP-6, etc) 



/s/ 
/s/ 






Expression Peda! 
CEV-5. EV-10. etc) 



IHold 



#Extemal Control 



A separately sold pedal switch (DP-2, DP-6, etc.) can be 
used to control hold. The hold function sustains the sound 
as long as the pedal is pressed. 




Hold as long as the pedal is pressed 

* The hold function will not affect non-sustaining sounds such 
as rhythm sounds. 

A separately sold expression pedal (EV-5, EV-10, etc.) can 
be used in the same way as the CI and C2 sliders on 
the front panel to control internal sotmds or external 
sound generators. With the factory settings, External 
control is not assigned to control internal sounds. 

* The control functions correspond to MIDI control changes. 

* To make control function settings, see "Using Controllers" 
(crpage 101). 



28 



1. How To Use the Play Functions 



The U20 includes various functions that are especially useful for live performance 
key transpose, chord play, and arpeggio play. By defining how these functions will 
work, you can turn them on/ off at the touch of a button. 

* Edited settings are temporary. If you want to save your edited 
settings, be sure to write them into memory (°-page 37). 

■ Key Transpose 

Key transpose shifts the keyboard range in half-steps, allowing you to play in 
a different key while using the same fingering. You can transpose over a range 
of ± 3 octaves. 



Each time you press | TRANSPOSE] , key transpose will be 
switched on/ off. When on. the button indicator will light. 
With the factory settings, this will lower the pitch one 
octave. 



PLAY MODE 



KEYBOAHD SOUND 



PART 



RHYTHM 



TT 



-J 



UNK ROM PLAY 

TRANSPOSE CHORD 1 CHORD 2 ARPEGGIO 




Use the following procedure to change the key transpose 
setting. 



Jump to the key transpose setting display. 



EDIT 


DATA 




I-ll #001 : standard 
Jur^p E Se 1 ect- Sw i t-cj-i . 












MARK 


JUMP 






_n 



29 



1. How To Use the Play Functions 



PLAY MODE 



KEYBOAHD SOUND PART RHYTHM 



LINK — ROM PLAY 



3 



TRANSPOSE CHORD 1 CH0F«3 2 WIPEGGIO 




Edit.^Kybd-^Perform--' Trans 



Use {V]VALUE[^ or the VALUE slider to sat the amount of transposition (-36 — 1-36 in semitone 
steps). 

@ C2/VALUE 



f 



VALUE 

V A 



b 



E d i t ^-^ K y b d ^'' P e r f o r n / T r- a ri s 
Key Transpose=^^^ 



When you finish making settings, return to play mode. 

@ PLAY MODE 



KEYBOARD SOUND 



PART 



RHYTHM 




zzrx: 



3 



r-ii #001 

1-11 #001 



ROM PLAY 

TRANSPOSE CHORD 1 CHORD 2 ARPEGGIO 



S t- a n d a r d 

Re oust- Pi ano 



I Chord Play 

Chord play allows you to play a chord by pressing a single key. Try it out using 
the pre-defined set of chords. 



Chord Set 

A different chord can be set for each of the 12 notes C, C#— B. Chord settings for each 
of the 12 notes can be stored as a Chord Set Internal memory holds eight different Chord 
Sets. For details of these settings, refer to "Creating a Chord Set" (o-page 39). 



While playing, you can instantly select from the chord 



sets defined for the CHORD 1 and CHORD 2 buttons. 



Press i CHORD 1 1 . The button indicator will light, and you 
can play the chords of CHORD 1. 



PLAY MODE 



KEYBOARD SOUND 
LINK 



PART 



WHYTHM 



Tzr7..rzirT 



-J 



ROM PLAY 
TRANSPOSE CHORD 1 CHORD Z ABFEQQiO 




30 



1. How To Use the Play Functions 



Press each key in succession. The chord assigned to each 
key will sound. When more than one key is pressed, the 
chord of the last-pressed key will sound. 



Pr®ss [CHORD 1 1 again to return to normal playing (the 

indicator goes out). 

Select CHORD 2 in the same way. To switch dire ctly from 

CHORD 1 to CHORD 2, simply press | CHORD 2 1 , and vice 

versa. 



Settings for Key Offset and Retrigger Mode allow you 
to specify how the chord set assigned to each button 
will be used. 

Key Offset : The chord set can be transposed over a range 
of 0—11 (semitone steps). Use this when you want to 
use the same set of chords to play a song in a different 
key. 

Retrigger Mode : If more than one key is pressed and 
a chord is sounding, this determines which chord will 
be sounded when the key producing the currently sounded 
chord is released. Retrigger mode can be set to Off, Low, 
or Hi . The velocity of a retriggered chord will be 
determined by the speed at which you release the key. 



Example : When several keys are being pressed and the chord assigned to E key is 
sounding, here's what happens when you release the E key. 




Retrigger Mode : Off 



Retrigger Mode : Low 




IB 



No sound 



The chord of the 
lowest key will sound 



Retrigger Mode : Hi 




The chord of the 
highest key will sound 



31 



1. How To Use the Play Functions 



^Chord Set Assign and other Settings 

CHORD 1 and CHORD 2 can each use one of the 8 chord 
sets. To select a chord set or make settings for key offset 
or rerigger mode, use the following procedure. 



Jump to tlie chord set assign display. 



EDIT 



DATA 



MARK 



JUMP 




I"ll #001 : Standard 
J u n p ! S e 1 e c t S w i t- c- h 



PLAY MODE 



KEYBOARD SOUND PART 



IT 



RHYTHM 



3 



LINK ROM PLAY 

TRANSPOSE CHORD \ CHORD 2 ARPEGGIO 




Ed 1 t..'-Kybd--'Perf orn^-'Chord 1 
Chor-d=#M: Diatonic ^ 



P^o^s [CHORD 1 1 or | CHORD 2 1 to select the button for which you want to select a chord set. 

^ PLAY MODE Y 



KEYBOARD SOUND 



PART 



RHYTHM 



iir:.riiTT: 



zr 



LINK ROM PLAY 

TRANSPOSE CHORD 1 CHORD 2 ARPEGGIO 




E d i t .-- K y b d .-■•■ P e r f o r pi --- C h o r d 1 
Chord = #Ps D i aton i c > 



Select a chord set (1 — 8). 

® C2/VALUE VALUE 

V 



I 



Edit-"- K y b d .•-' P © r f o r m .-- C h o r d 1 
ChQrd=#EsSus4 k 



Chord Set number 



32 



1. How To Use the Play Functions 



If desired, set the key offset and retrigger mode. 
Press CURSOR [^ to make the key offset value blink. 



EXIT 



PART 
ENTER — ■- 

















CU 


IS 


OR 




VALUE 

V A 




_Jl_ 









Edit -■■■■ K y b d y F © r f " o r fi . ■' C h o r d 1 
•4KeyOf fset~jl Retr-ig^Hi 



Set the key offset 

(D C2/VALUE 



VALUE 



V A 



Edit . ■' K y b d ^ P e t- € o r r-i .-■■ C h c. r d 1 
■^KeyOff set=il Retr-ig = Hi 



Press CURSOR to make the retrigger mode value blink. 

(2) PART 

ENTER -- ■- 



EXtT 

















CU 


=IE 


OR 




VAL 
V 


UE 

A 






__n_ 











Edi t.--Kybd.-^Perf orR.^'Chordl 
^KeyOff £et=e Retrig=lM 



Select the retrigger mode. 

® C2/VALUE VALUE 

V 



fi 



Ed i t^-^Kybd/Perf orrvi^Chord i 
< KeyOf f set = Hi Retri ^=^^M. 



When you finish making settings, return to play mode. 

(D - — — 



PLAY MODE 

KEYBOARD SOUND PART RHYTHM 




IT 



zr 



' ROM PLAY 
TRANSPOSE CHORD 1 CHORD 2 ARPEGGIO 



I -11 #001 
I-ll #001 



Standard 
flcoust Pi ano 



1. How To Use the Play Functions 



I Arpeggio Play 

Arpeggio play allows you to play an arpeggio of the chord being pressed. The 
arpeggiation pattern can also be set. 



Pressing I ARPEGGIO] will turn arpeggio play on/off. When 
turned on, the button indicator will hght. When you play 
a chord on the keyboard, it will be arpeggiated. 



PLAY MODE 



KEYB0AW3 SOUND 



PART 



FWYTHM 



I ^^^^ 1 L_ ^^^ p|_^Y 



3 



TRANSPOSE CHORD ! CHORD 2 ARPEGGIO 




Four types of arpeggio are available. The selected type 
will determine how the notes of the chord will be played. 



Type 


Sound 


Up 


Notes being pressed will sound from low to high. 


Down 


Notes being pressed will sound from high to low. 


Up & Down 


Notes being pressed will sound from low to high and back to 


low. 1 


Random 


Notes being pressed will sound at random. j 



In addition to the arpeggio type, you can also specify 
the speed (rate) at which the notes will be arpeggiated. 



34 



1. How To Use the Play Functions 



•Arpeggio Tvpe and Rate Settings 

Here's how to change the arpeggio type and rate. 
Jump to the anpeggio setting dispfay. 

EDIT DATA 



MARK JUMP 




I-l 1 #061 : Standard 
Jump: Select Switch, 



PLAY MODE 



KEYBOARD SOUND PART RHYTHM 



TT 



:_! 



LINK ROM PLAY ' 

TRANSPOSE CHORD ! CHOFO 2 ARPEGGIO 




Edit y K y b d y P e r f o t- r-j .••■ fi r- p e 



T 

Type 



T 

Rate 



First select the Type. 

® C2yVALU£ VALUE 



f 



h 



Edi t^-'Kybd^'-Per-f or-n^-flr-pe 



Press CURSOR[3to make the rate value blinlc 

(3) PART 

E>aT ENTER -- »- 



CURSOR 










V 


<L 


JE 
& 









E d i t ^-^ K y b d y P e r f o r r-i y f\r-F-e 
T y p e = U p S: D o w n R a t e ~^^) 



Set the rate. Higher settings will result in faster arpeggiation. 

CD C2/VALUE VALUE 

V A 



f 



Edit .-■■ K y b d ^- F" e r f ' o r ri .-■■ ft r- p e 
Type=Upg:Dowri Rate=iiiEl 



When you finish making settings, return to play mode. 

(^ PLAY MODE ^____ 



KEYBOATO SOUND 



PART RHYTHM 




=r^ 






■ ROM PLAY 
TRWJSPOSE CHORD 1 CHORD 2 ARPEGGIO 



11 #001 
11 #001 



Standard 
Rcoust Piano 



OK 



2 Write the Edited Performance Function Settings 



2. Write the Edited Performance Function Settings 



The settings we have edited so far (key transpose, chord, arpeggio) can be stored 
together as a keyboard patch. Here we will explain how to write these edited settings 
into memory along with a patch name. 

* For details of keyboard patches, see section M. 



a Name 

Here's how to change the name of a keyboard patch. 



Select the patch name display. 

Q\ EDn- DATA 



I-ll #SS1 s Standaf-d 
JuRP= Select. Switch 



MARK JUMP 




PLAY MODE 



KEYBOARD SOUND PART RHYTHM 



^'yiNK '' "-ROM PLAY"" 

TRANSPOSE CHORD 1 CHORD 2 ARPEGGIO 



Edit .■■■• Ky b d.^- H a m e 
Patch Nane=***=+=******** 



Move the cureor (underline) to the character you want t o change, and select a different c haracter. 

CURSOR 



CD® 



b 



;dit--'Kybd.--'Name 
Patch Hane =+*=+=***=+=:+:**^f:>f: 



C2/A/ALUE 



f 



VALUE 

V A 



E d i t--- K y b d-'" Ha fi e 
Patch Nane-N*********** 



Edit -■■• K y b d .-^ H a PI e 
Patch HaF'-ie = New Key Patch 



* The following characters can be used ; 

(space) A— Z a— z 0—9 -/+*..:;=!"#$%&• 

() <>{}[]_? J> 

* Pressing NUMBERIJ] will insert a space. Pressing NUMBERJYI 
wili delete the character at the cursor, and move the remaining 
characters forward. 

After changing the name, continue to the following write 
operation. 



36 



2. Write the Edited Performance Function Settings 



b Write 



Now let's store all the edited performance function settings we edited. Here we will 
explain how to write the edited keyboard patch settings into the same patch number. 

* The On/ Off setting for each performance function is also 
memorized. The indicator of each button shows the condition. 

* It is not necessary to write data into memory each time you 
edit a performance function. 

* To store edited keyboard patch settings into a different patch 
number, see "Data Mode Operations" (o-page 128). 

Use the following procedure while editing a performance 
function. Jump to the keyboard patch write display. 



Jump to the wnte display. 

(1) EDIT DATA 



MARK 



JUMP 




Edi t.'-Kybd--'Nane 

Jupip: Select. Switch 



PART 



DOT ENTER 



CURSOR V / VALUE 

■^ V A 



Data-'Ur i t-e-^'Kybd 

Write Temp: 111 ^111 



Press ENTER once again. 



PART 



EXIT ENTER 



CURSOR 



30R\ } 









VA 

V 


A. 


UE 

A 









Data^-'Wr i te^-Kybd 

Sure? CUflLUEA3 y CEXITD 



Q7 



2. Write the Edited Performance Function Settings 



If you are sure you want to store, press VALUE[A]. (To quit without storing, press [EXIT 
to the display of step ®.) 

® PART 

EXIT ENTER -• — 



to return 

















cu 


=1£ 


OR 




VALUE 

V A 














n 



Dat-a--'Ur it-e--'K'=ibd 

Funct. i on Complete. 





4' and in a short time. 


Data^'Mj 
Ui rite 


Jr-i t-e^'Kybd 

TepiRS 111 H.-I 1 1 



This completes the writing operation. Return to ptay mode. 

PLAY MODE 



KEYBOARD 


^ 
i 


SOUND 

— amm — 

n 




PART 




RHYTHM 








' 


TRANSPOS 


1 




ROM 

CHORD 2 


F 


'LAY — 
ARPEGGIO 


1 

CHORD 1 

















I-ll #001 
I-il #001 



Hew KeyPatch 
ficoust Pi a no 



38 



CREATING A CHORD SET 



In "Useful the Performance Functions", we explained how to select pre-defined Chord 
Sets and how to use the Chord Play function. Here we wiU explain how to create 
a Chord Set suitable for the song you are playing. 

■ Creating A Chord Set 

Here's how to create a chord set. 



use 1 CHORD 111 CHORD 2ftn Rflinnt th« PhnrH <;<»+ y™. ^^^^^ 
to create. 






J 

Use the keyboard to set a chord for each note CC, C#— B). 






Give a name to the chord set 






Store the newly defined chord set. 



a. Editing a chord set 



Select either of the chord sets assigned to the keyboard patch, and edit the chord 
for each note. 



Enter edit mode. 

(T) EDIT 



DATA 



f) 




b 

MARK 


JUMP 







Chord I Soundl Timbrel Rythft 



Select "Chord". 



EXIT ENTBl 



PART 









CU 


ISOR 









h 









VAL 

V 


JE 

A 









Eclit I Setupl Kybd 

^BM^Bl Sound I Tifibrel Rythfi 



m CREATING A CHORD SET 



PART 



EXIT ENTER 






CURSOR 



n 

sorV, J 



Edit.-"Chordi:23 



VALUE 

V A 



Select the button of the chord set you want to edit (the button indicator will light). 



® 



PLAY MODE 



KEYBOARD SOUND PART RHYTHM 



I ^|^|_, — pQ^ pj_^Y 



zr 




TRANSPOSE CHORD 1 CHORD 2 ARPEGGIO 




Select "Note". 

(D 

^ EXIT ENTER 



PART 



Edit-'-Chor-dCl 3 



CURSOR 



VALUE 

V i 




PART 



EXIT ENTER 



CURSOR 



IT 

30rV / VALUE 

i- V A 



Ed i t^-Xhord C 1 3 .--Hot e 
m : Not.e=JV 



This is the chord setting display. Sele ct the note (C. C#— B) for which to define a ch ord. 

PART 



CZ) 



EWT ENTER 



Edit-'-ChordC 1 ^.-'Hote 
m - Not-e^J'/J-/- 



CURSOR 



VALUE 

V A 



h 



Play a chord on the keyboard. The chord will be defined when you remove your hand from the 
keyboard. 



Playing a D major chord. 

1111 



Edit..--Chordi: 1 3.-'Hot.e 
m : Hot.e==-/-/'J"' 



If you want to define a chord for another note, repeat steps ®— ©. 



40 



S CREATING A CHORD SET 



When finished, press jEXITj to return to the display of step (3). 

® PART 

DOT ENTER -• *- 




URSOR 



VALUE 

V A 



Edi-t---ChordC13 
Har'i 



If you want to change the name of the chord set, follow the procedure explained below. 

* The hT characters in the display indicate the number of notes 
in the chord. 

* To re-do the settings of step ®, release all the keys, and play 
a chord again. 

* In step (D, you may continue to add notes as long as a key 
is still being pressed. 

* Each chord may contain up to 8 notes. 

* You are free to set any type of chord for each key. For 
example, a C major chord can be assigned to the D key. 

* You may use the keyboard to specify a chord at any time in 
the chord setting display. 



41 



m CREATING A CHORD SET 



»rd set name 

Here's how to change the name of a chord set. 



Select "Name". 

(!) 



PART 



EXIT ENTER 



CURSOR 










V 


L 


UE 

A 









Edit.--C.hor-d[ 1 ] 



PART 



EXIT ENTER -m 



CURSOR 



30rV J 



Edi t/ChordC 1 3 '■"Name 
Chord Hap'ie = ^==+= + '+==+==+=*=+=**^=* 



VALUE 

V A 



Move the cursor (underline) to the character you want to change, and select a different character. 

(D® CURSOR 



h 



Edit-'-ChordCl ^^-Nar-ie 

Chord Nar•■ie = *****=+:^H^^:^t:l+:*^^: 



C2/VALUE VALUE 

V A 



I 



Edi t.---Chord C I 1 --"Har'-ie 

Chord Nar''le = NH■:^f:^^::+:^^:^^■:*^H^^:*^^: 



Edi t .-■' C h o r d E 1 1 ^ Name 
Chord H a m e = H e w C h o r d S e t 



* The following character can be used ; 

(space) A— Z a— z 0—9 -/+*.,:;=!"#$%&' 
()<>{}[]_?;> 

♦ Pressing NUMBER [T] will insert a space. Pressing NUMBER [1] 
will delete the character at the cursor, and move the remaining 
characters forward. 

After changing the name, continue to the following write 
operation. 



42 



m CREATING A CHORD SET 



Now let's store the chord set we edited into its original chord set number 



From the chord set editing display, jump to the write display. 

Q) EDIT DATA 



MARK JUMP 




Edit^-Chordn ^.-'Nane 
Jump: Select Switch 



(D PART 

EXIT ENTER — 



sorV / 



CURSOR V J VALUE 

V A 



Data.--Ulrite^Chordi: 1] 



'*''»*s I ENTER I once again. (To cancel t he op eration, press | EXIT I to return to the step ® display.) 

(^ PART 



EXIT 



ENTER 




Data^'-Ulrite^'ChordC 13 
Sure? C UPlLUEi 3 .■-■ C EX I T 3 



If you are sure you want to store the chord set into memory, press VALUE[a1. 

@ PART 



EXIT 



ENTER 

















CU 


R£ 


OR 




VA 
V 


L 


UE 

A 














n 



Data .■■■' I...i r- i t e -■■' C h o r d C 1 3 
Function CopifI ete 





4- and in a short time, 


D a t a -■ 


■yrite.--ChordC 13 

1 Teiv,psll ^11 



This completes the writing operation. Now return to play mode. 

PLAY MODE 



KEYBOAFU: 

— Mm — 




SOUND 

— Hm — 

7 




PART 




RHYTHM 










TRANSPOS 


CHORD 1 




ROM 
CHORD 2 


F 


LAY 

AFPEGGIO 

















I-ll #9Si 
I-ll #0S1 



Standard 
Picoust Piano 



43 



I Adjusting the Display Contrast 



■ Adjusting the Display Contrast 

At some angles, it may be difficult to read the characters in the U-20's display. In such cases, 
use the following procedure to adjust the contrast (brightness) of the display. 



©Press EDITl. 



Edit- I Setup I Kybd 

'^^MW^l Sound I Tipibrel Rythn 



Press r^ CURSOR several times to select Setup (blinking). 



Chord 1 bound I Ti mbrel Rythn 



Press ENTER. 



Edit- -■■' Set. u p 

il Effect I LCD I MIDI 



(g)U8e RICURSORF^n to select LCD (blinking). 



Edi t-'^Setup 

M, Tune i Effect I 



MIDI 



Press ENTER . 



Ed i t-'-betup-'-LCD 

LCD Contrast 



This allows you to adjust the displa y co ntrast. 

d) Use the VALUE slider or FvIvALUEIaI to adjust the contrast (0—15). 



Edi t---"Setup^'*LCD 

LCD Contrast^ 



(^When you are ^nishad, return to play mode. 

* The contrast setting will be remembered even when the power is turned off. 



44 



iLi^i-- ."S ^£_.'. ^-^ ., — '_ 



■^- rj^i 



•r. <■'.-■ 



i:v---.' 



'1 ■ - I ' * I 



■■If- .»-*■**'■• «»-'■¥■ H*Ss."«-'^'S«Sr ■ ■— **l\Ii, ' ■ - 



SECTION n 



Editing 



-Create your own sounds 



n II you will leam how to modify the U-20's sounds (Sound Patches, Timbres) to cref 
■■Ti original sounds. 



r. ~ 






V: 






fj'i:..v"';v 



5*1 



V. .rj, -.1" 



A^: 



P6i 



ap^?^j£ls?'--v ■ ■■■ ..:■ ■■;■ •■■■"■*fe^i? 




D BEFORE YOU CREATE YOUR 
OWN SOUNDS 

1 . Tones 

Z About the Multi-timbral Sound Generator 
3,Sound Creating Procedure 

g SOUND PATCH SETTINGS 

1. Editing a Sound Patch 

a. Settings for each Part (1—6) 

b. Rhythm part settings 

c. Effect settings 

d. Name 

2. Storing a Sound Patch 

(Writing Procedure) 






An 



m EDIT THE TIMBRE SETTINGS 

1. Timbre Editing 

a. Tone select 

b. Level 

c. Pitch ' 

d. Vibrato 

e. Timbre name 

Z Storing Timbres (Write Procedure) 

El RHYTHM SET SETTINGS 

1. Settings for Each Key 

a. Selecting tones - 

b. Level 

c. Pitch 

d. Output 

2. Other Settings 

3. Storing a Rhythm Set 
(Writing Procedure) ■ ■ ■ 



fr -I ■■■."..■ . » ** jV ■ ■■ • . 



AV 


w\ 


49 

49 


;?-■ 








■* -si' 


DU 


• ■• ■ 


52 


_ » 


*^3 


"^. t 


56 






'^ *- 


r,^ 


Q..VI-. 




-^^r- 


hH 


^* 


51; 


W^.' 


6" 




63 


V- ■* .: 


65 


or." . 


67 


t '^■^. 


6& 




69 


. -j^ . 


7C 
71 


^? 


/2 




7^- 


- . -is.' 


7C 


II. "' 




■ - *l - 


7 • 


>•>-.* 




\'^fi 


79 




•^ 


■^' . ■' 








^V'''=* 


S^»^ 


,n '• 


?-^- 


» ^* \ 



BEFORE YOU CREATE YOUR OWN SOUNDS 



Before you begin creating your own sounds, read this section to learn how the sound 
generator in the U-20 creates sounds. 



1. Tones 



Here we will explain the features of the U-20's RS-PCM sound generator. 

•RS-PCM Sound Generators 

RS-PCM stands for ReSynthesized Pulse Code Modulation. 
PCM is a method of storing a sound waveform as a digital 
sound recording. However, simply recording and playing 
back the sound of an instrxmient does not always give 
musically appropriate results. 

RS-PCM uses Roland's unique technology to analyze, 
modify, and "resynthesize" the PCM recorded instrumental 
sound. This results in a realistic sound that can be 
controlled in musically appropriate ways. 
The basic sound of the RS-PCM sound generator is the 
"Tone". Internal memory contains 128 Tones. PCM cards 
(sound Ubrary cards (SN-UUO series) for the U-110) can 
also be used, providing even more soxmds. 

The U-20 does not simply use the Tones as they are, 
but allows you to modify the way in which volume and 
pitch change, or how vibrato is applied. This lets you 
easily create your own soimds. 

#Tvpes of Tone and Simultaneous Polyphony 

The U-20 can produce up to 30 sounds (voices) at once, 
but this will depend on the type of Tones being used. 
Tones which consist of a single voice can play up to 
30 notes. Tones which consist of two voices can play up 
to 15 notes, (cr Refer to page 59, "Tone select".) 

•Pitch Range Tones have an upper limit beyond which they cannot 

produce sound. 

Each acoustic instrument has a different sound-producing 
range, and the soimd-producing ranges of the U-20's sounds 
are based on these ranges. 



46 



2. About the Multi-timbral Sound Generator 



2. About the Multi-timbral Sound Generator 



Here we will give a simple explanation of the multi-timbral sound generator. 

Multi-timbral Sound 
Generator Section 



Part 2 



Part 3 



Part 6 



Rhythm Part 



^■■^ 



Effect 




Level 
Pitch 
Vibrato 



All— 88, B11— 88 
CI 28 Timbres) 



Rhythm Sets 




1-1—128 
PCM Card 



1—4 
C4 Rhythm Sets) 



11-88 
(64 Sound Patches) 



#Timbres 



Timbres are the basic miit of sound which you will play. 
128 different Timbres can be created. Each Timbre has 
settings which determine the level, pitch and vibrato of 
the tone and parameters which determine how the tone 
will be affected by velocity, aftertouch, and the bender 
lever. 



I Rhythm Set 



►Parts 



#Sound Patches 



A different tone can be assigned to each key to create 
a drum/percussion set. 4 sets can be stored in the U-20's 
internal memory. 

One part corresponds to a single conventional sound 

generator module. The U-20 has 6 parts and a rhythm 

part. 

Timbres are assigned to parts 1—6, and a rhythm set 

is assigned to the rhj^thm part. Volume and pan can be 

adjusted and an effect can be selected for each part. 

A Sound Patch is a collection of part settings and effect 
settings ; i.e., the Sound Patch determines the instnmiental 
ensemble. 64 Sound Patches can be stored in the U-20's 
Internal memory. 



47 



3. Sound Creating Procedure 



3. Sound Creating Procedure 



Here we will explain how to create your own Sound Patches, Tnnbres, and Rhythm 
Sets. 

■ Creating a Sound Patch 

A Sound Patch consists of 6 Parts and a Rhythm Part, 

but playing the keyboard will not necessarily sound all 

of the Parts. Settings of the Keyboard Patch and Soimd 

Patch will determine which Parts are played by the 

keyboard. 

The factory settings include Sound Patches for which the 

keyboard will play only Part 1, and also Sound Patches 

which use two or more Parts (Timbres) to create a sound. 

A musically appropriate effect such as reverb or chorus 

is assigned to each Soimd Patch. 

In this way, a Sound Patch consists of settings which 

determine the overall sound ; the Timbre used by each 

Part, and the effect applied to the sound. 

By specifying a Keyboard Patch performance function 

appropriate for the corresponding Sound Patch, Link Play 

mode can be used even more effectively. 



Creating a Timbre 



* To create sounds using two or more Parts, refer to section HI. 

A Timbre determines how sound is produced. Internal 
memory contains 128 Timbres. If you want to change 
certain aspects of the sound, such as deepening the vibrato 
or making a faster attack, you must "edit" the Timbre. 
Editing a U-20 Timbre is much simpler than editing a 
synthesizer soimd, and creating your own sounds is quick 
and easy. 

Sounds can be created using Tones from a PCM card 
(optional) in addition to internal Tones, for even greater 
possibilities. 



Creating a Rliythm Set 

The U-20 lets you create and store 4 Rhythm Sets. 
As you learned when you played the keyboard in Rhythm 
Play mode, each Rhythm Set consists of a rhythm sound 
assigned to each of the keys. Rhythm Set settings allow 
you to change the sound assigned to each key, and adjust 
its pan or level to an appropriate balance. As with 
Timbres, you can also create the sound that will be used. 
Make these settmgs when using the U-20 to play rhythms 
under the control of a external rhythm machine or 
sequencer. 

* A separately sold RAM card (M-256E) can be used to increase 
the number of available Patches and Timbres. To use a RAM 
card, see "Using a RAM Card" (crpage 128.). 



48 



SOUND PATCH SETTINGS 



Here we will edit the settings of a Sound Patch, and determine how the effect and 
various Parts will be used. 



1. Editing a Sound Patch 



Here we will explain how to set the basic parameters of a Sound Patch. 



For each Part 1—6, you can select a different 
Timbre and make settings for volume, pan, etc. 
For the Rhythm Part, you can specify which 
rhythm set is to be used. In addition, you can 
store effect settings (chorus, reverb) as part of 
a Soimd Patch. 





Patch Name 




Part 1 






Rhythm Part 


Select Timbre 
Select Effect 
Level 
Pan 




Select Rhythm Set 
Level 




Effect 


Part 6 






Chorus/ Flanger 






Reverb/ Delay 



Basic Editing Procedure 

While in Sound Patch mode or Link Play mode, select 
the Sound Patch you want to edit, and use the following 
procedure. 



®Jump to the parameter group you want to edit 
Parts 1—6 



Select Timbre 

Output 
Rhythm Part 
Effect 

Chorus/ Flanger 

Reverb/ Delay 
Sound Patch Name 



PDJgPI 

i Jump I 



NUMBER [7] 
IftHYTNMI 

BANK HI 
BANKlU 
I SOUND I 



Use Part to 
select the part 

B]PART[E 



@Use r^CURSORrgn to select the parameter to edit 



©Use rvlVALUErAl or the VALUE slider to modify the 
value. 



Continue to the Write operation 



* Timbres for Parts 1 —6 can also be selected in Part P!ay mode. 

* The rhythm set for the Rhythm Part can also be selected In 
Rhythm Play mode. 

* The jumps using the BANK and NUMBER buttons explained 
here apply to the factory settings. 

* Edited settings are temporary. To store your edits, write them 
into a Sound Patch memory (crpage 57). 



49 



1. Editing a Sound Patch 



a Settings for each Part (1 — 6^ 

For each Part, you can specify the Tunbres to be used when the Sound Patch is 
selected, the effect to be used, and settings for pan and level. 



Timbre (A11~B88) 



JUMP 




This specifies the timbre which will be used for each 
Part when the Sound Patch is selected. 




PART 



E d i t .-■" S o u n d .■■■■ P a r- 1- i .--■ T i r^i b r 



Output 



MARK JUMP 



* Timbres can also be selected using I INT/ A | , |CARD/B| , BANK 
[T}- [a], and NUMBER [l]— [s]. 




PART 



Edit ■■'■ b o u n d -'■■ P a r 1 1 --' u t p u t 



Output Assign Part Level 



Pan 



Edit.^Sound'^Partl /Output 
fi£9n=$m^. Lvl = 127 Pan«>< 



Output Assign (Dry, Rev, Cho, Dir) 

This specifies the effect (chorus, reverb) to be 
used by each Part. As specified by the effect 
chorus out mode (crpage 53), effects can be 
connected in two ways, PreRev and PostRev. (The 
factory setting is PreRev.) 



Output Mode 


Effect 


Output Jacks 


Dry 


No effect is used 


MIX OUT 


Rev 


Oniy Reverb 


Cho 


Pre Rev : Chorus and Reverb 
Post Rev : Only Chorus 


Dir 


No effect is used 


DIRECT OUT 



* If the DIRECT OUT jacks are not being used, the 
signal from the DIRECT OUT jacks will be sent from 
the MIX OUT jacks. 



50 



1. Editing a Sound Patch 



»Part Level (0—127) 



Edit-'Sound^PartlvOulput 
Rs9n = Rey Lvl'^mm. Pan^X 



►Pan (7 >—>< — < 7, Rnd) 



Edit/Sound/Partl/Output 
Os9n=Rev Lyl=127 Pan=g^ 



This determines the volume of each Part, allowing 
you to adjust the volume balance between Parts. 



This determines the pan position (stereo location) 
of each Part. When Rnd is selected, the sound 
will be moved to a random location each time 
it is played. 

Left Center Right 

7> >< <7 



■ Chorus and Reverb Effect Switch 

In addition to the output assign specified for each Sound Patch, you may specify a whether 
the chorus or reverb effect is to be On or Off for all Sound Patches. (This setting is shared 
by all Sound Patches.) 



lEDITl 



Select Setup 
SCURSOR 



I ENTER I 



Select Effect 

ScursorH 



rENTERI 



: d i t. .■■- S e t u p ^- E f f © c t. 
C h o r- u s = ^M R e ^J e r b 



*The chonas/ reverb effect switch setting is preserved even when a Patch is changed or the 
power is turned off. 



Rl 



1. Editing a Sound Patch 



b Rhythm part settings 

For the Rhythm Part, you can specify the rhythm set and the overall volimie of 
the Rhythm Part. To modify the pan, output assign, sound, and volume settings of 
each rhythm sound, edit the Rhythm Set (a- "Rhythm Set Settings", page 69). 



MARK JUMP 



PLAY MODE 




KEYBOARD SOUND PART RHYTHM 



IT 



LINK ROM PLAi 

TRANSPOSE CHORD 1 CHORD 2 ARPEGGIO 




Button 


Parameter 


Display 


CURSOR 


Rhythm Set 




E d i t. .-■■ S o L4 n d .-- R , P a r t 
RhythM=#ms Standard Set> 




A 

V 

CURSOR 


; 


I 


Rhythm Part Level 
Level Boost Switch 


E d i t- ■■■■■ S o u n d ■-■■ R - Part- 









•Select Rhythm Set (1—4) 



Edit/'Sound/R.Part 
RhythPi = «^: Standard Set^ 



Select one of the four rhythm sets. 



►Rhythm Part Level (0—127) 



Edit/Sound/R.Part 



This determines the overall volume of the Rhythm 
Part. 



(Level Boost Switch (Off, On) 



Edit^'Sound-'R.Part 
< Leu©l=127 Boost= 



When set to On, the value will be greater than 
the specified value. 



52 



1. Editing a Sound Patch 



c. Effect settings 

Make settings for the chorus and reverb effects. 



Chorus/ Flanger 



Chorus adds spaciousness and warmth to the sound. These 
settings determine how chorus and reverb are connected, 
and how the Chorus /Flanger effect is applied. 



MARK JUMP 




* I±3[±]l±I[±ll±]I±iCn:i[±l 



Button 


Parameter 


Display 


CURSOR - 


Chorus/ Flanger Type 


Edit-'-SoundxEf feet .''Chorus 




> 
CUR 


( 

SOR 


Output Mode 
Cliorus/ Flanger Level 




Edi t.-'SDund---Ef f e«=.t.--Chorus 


Delay Time 
Chorus/ Flanger Rate 




Ed i t.---Soui-id--'Ef f ect^-'Chor us 
■^ Del ay Time=i» Rate=M^I^ 


Chorus/ Flanger Depth 
Feedbacic 


Edit-^-Sound^-'Eff ect^-'Chor-us 
A Depth=S Feedback =!Ba 













•Chorus/ Flanger type (Chorusi, 2, FB-Chorus, Flanger, Short Delay) 

This selects the effects such as chorus, flanger, 
and short delay. 



Edit^Sound^Effect-'Chorus 



Chorus 1 



Chorus 2 



FB^Ihorus 



Flanger 



Short Delay 



Rich spacious effect 



Deep ensemble effect, especially effective for layered strings. 



An effect midway between chorus and flanger. 



An effect of strongly emphasized shifting overtones, especially effective 
on sounds with a strong overtone structure such as HEAVY.EG. 



A delay repeated in a short time. 



►Output Mode (Pre Rev, Post Rev) 



Edit'^Sound-'Effect^Chorus 



This determines how chorus and reverb are 
connected. The output assign setting for each Part 
(cpage 50) will determine which effect is used. 



CO 



1. Editing a Sound Patch 



Pre Rev 




Dry 
Rev 

Cho 


Post 


Rev 






Dry 




MIX OUT 














Revert)/ 
Delay 




_i 














MIX OUT 


r * 




Reverb/ 






Rev ' 




i-^R 






— ^ 


ji^zr:^ 


_^ 


Chorus 




y 


1 — 1 
















Cho 




Chorus 





































(Chorus/ Flanger Level (0—31) 



Edit/Sound^'Effect/Chorus 

^Out = Pre Rey Level =?^^ 



This determines the voliime of the effect, allowing 
you to adjust the balance of the processed and 
unprocessed sound. 



(Delay Time (0—31) 



Edit-'Sound^Effect/Chorus 
<Delay Tine=l^ Rate=25^ 



This adjusts the delay time used by the chorus/ 

flanger. 

For Chorus 1, 2 and FB-Chorus, higher settings 

will result in a more spacious effect. 

For Flanger, lower settings will result in a 

stronger flanging effect, and higher settings will 

result in a more chorus-like effect. 

For Short Delay, this adjusts the time delay 

between repeats. 



•Chorus/ Flanger Rate (0—31) 



Ectit''Sound''Effect.^Chorus 
■^Delay Tine=12 Rate=S^^ 



This adjusts the cycle time of the chorus/flanger. 
It has no effect when Short Delay is selected. 

^31 Fastest cycle 



w 



Modulation becomes slower 



►Chorus/ Flanger Depth (0—31) 



Edi t'' So und/Effect ''Chorus 
< DePth=S^ Feedback==±0 



This adjusts the depth of the chorus or flanger 
effect. It has no effect when Short Delay is 
selected. 



(Feedback ("31-4-31) 



Edi t'' So und/Effect ^Chorus 
A Depth=0 Feedbacks!^ 



This adjusts the amount of feedback for the 
flanger or delay. The phase will be reversed 
depending on the " + " or "-" setting, which will 
also change the resulting sound. For Flanger and 
FB-Chorus, this will modify the tonal quality of 
the sound. For Short Delay, this will determine 
the mmiber of repeats. For Chorus 1, 2, this 
setting has no effect. 



54 



1. Editing a Sound Patch 



Reverb/ Delay 



Reverb or delay adds acoustic reflections that give depth 
and spaciousness to the sound. 



MARK JUMP 




r-^r^ rHrSi — ir^rS i 



Button 


Parameter 


Display 


CURSOR 


Reverb/ Delay Type 
Reverb/ Delay Time 




E d i t .-'■ S o u n d ■■•' E f ■ f e c t y- R e '..^ e r b 




A 

CURSOR 


Reverb/ Delay Level 
Feedback (Delay only) 




Edi t/Sound--'Ef f eot-'-'Re^-'erb 
■4 L e "...' e 1 =M Delay F B =W. 





meverb/ Delay Type (Room 1—3, Hall 1, 2, Gate. Delay, Cross Delay) 

Select the type of reverb or delay. 



Room 1—3 


Sharply-defined reverb with a broad spread 


Hall 1, 2 


Smooth revert), vwth greater depth than Room 


Gate 


A sharply muted reverb ; i.e., "gated" to produce an 
artificially fast decay 


Delay 


Standard delay effect 


Cross Delay 


Delay repeats pan to left and right 



>Reverb/ Delay Time (0—31) 

This determines the len^h of the reverberant sound. When 
Delay or Cross Delay is selected, this determines the delay 
time. 



»Reverb/Deiay Level (0—31) 

This determines the volume of the reverb (delay). 



•Feedback (0—31) 



This determines the number of times the delay is repeated. 
It is meaningful only when Delay or Cross Delay is 
selected. 



F=iB 



1. Editing a Sound Patch 



d Name 

You can give a 12-character name to each Sound Patch. 



Get the Sound Patch name display. 



JUMP 




,FW1 Moce, 






Edi t..''"Sound'^HaF'ie 
Pat.ch Name=ficoust Piano 



Move the cursor (underline) to the character you want to change, 
and select a new character. 



* The following charaotere can be used ; 

(space) A— Z a—z 0—9 -/+*.,:;=!"#$%&' 
()<>{} [] _? J> 

* PrBssing NUMBER Q] will insert a space. Pressing NUMBER [2 
will delete the character at the cursor, and move the remaining 
characters fonward. 



CURSOR 



h 



C2/VALUE 



VALUE 

V A 



E d i t- -^ S o u n d .■'" N a n e 
P a t. c h H a m e = * =+= =+= =+■■ * it: * >f: * * * ff; 



Edi t.''"Sound.---NaF'ie 
Patch Har'^e=fi*******H^^f:** 



56 



2. Storing a Sound Patch (Writing Procedure) 



2. Storing a Sound Patch (Writing Procedure) 



The various Sound Patch settings you edit are stored together as a Sound Patch. 
Here we will explain how to write the edited Sound Patch settings into the Sound 
Patch memory they originally occupied. 

* To write a Sound Patch into a different Sound Patch memory, 
refer to "Writing a Patch" (o-page 133). 



From the Sound Patch editing display, jump to the Sound Patch write display. 



(D® 



JUMP 



ENTER 





D a t a -^ Wr i i e ^'"S o u rid 



* The display will show the numbers of the edited Sound Patch 
and the writing destination Sound Patch. 



Press I ENTER | onca again. 

@ PART 

EXiT ENTER -^ ■- 




Data y Ul r i t e ^' S o u n d 
Sure? CUfiLUEi.3 ■ 



CEKITl 



If you are sure you want to writ e the data into the Sound Patch memory, press VALUE JAl. (To 
cancel the operation, press I EXIT I to return to the display of step (D.) 

(D PART 



EXIT 



ENTER 







CURSOR 





VALUE 

V A 




D a t a ^■' W r i t- e ^•' S o u n d 

Function Complete 



4- and in a short time, 



Data .'■■ W r i t e .-^ S o u n d 

mmm^ TemF-iiii ^iii 



This completes the writing operation. Return to play mode. 

(^ PLAY MODE 



t^YBOARD SOUND 



PART 



RHYTHM 




ROM PLAY 
TR>WSPOSg "CHORD 1 CHORD 2 AEW'EGGIO 



I-l 1 #001 : Standard 

I -11 #001 : ficoust Piano 



57 



0EDIT THE TIMBRE SETTINGS 



Here we will edit Timbre settings to create a new sound. 



1. Timbre Editing 



Here we will explain how the Timbre parameters fimction, and the editing procedure. 



Tone Select 




Timbre Name 












Timbre Level 




Pitch Shift /Coarse 
\Fine 




Rate 


Velocity Sensitivity 






Waveform 


Channel Aftertouch Sensitivity 




Bender Range /Bend Down 
\Bend Up 




Depth 


Envelope /Attack Rate 






Delay Time 


f Decay Rate 




Channel Aftertouch Sensitivity 




Rise Time 


1 Sustain Level 




Polyphonic Aftertouch Sensitivity 




Modulation Lever Depth 


\ Release Rate 




Auto Bend Depth 
Auto Bend Rate 
Detune Depth 




Channel Aftertouch Sensitivity 
Polyphonic Aftertouch Sensitivity 



* Polyphonic aftertouch refers to aftertouch which can be 
controlled independently by each key. Make these settings 
when controlling the U-20 from a MIDI device which is able to 
transmit polyphonic aftertouch data. The U-20 is not able to 
transmit polyphonic aftertouch data. 

Basic Editing Procedure 

Since you will want to listen to the Timbre while editing 
it, first enter Part Play mode and select the Timbre to 
be edited. You can select a Timbre for any Part, but in 
this example select Part 1. 



58 



1. Timbre Editing 



©Select the item (parameter group) to edit 



Timbre Name 
Tone Select 
Level 
Pitch 
Vibrato 






NUMBER U] 
NUMBER d] 
NUMBER d] 
NUMBER d] 
NUMBER [D 



@Use r^CURSORf^l to select the parameter to edit 



@Use[v]VALUE[A]or the VALUE slider to adjust the 
value. 



Continue to the Write operation 

* This chart shows the factory^et jump destinations. 

* Edited settings are temporary. If you want to keep your edits, 
you must write them Into memory ('=»'page 68). 

a Tone select 

Select the basic Tone for the Timbre. You can select from the 128 internal Tones, 
or from Tones in a separately sold PCM card. 



MARK JUMP 




CZIi 



3^6676 

ICZ1CZ3EZI1CZ3I I I I 



Part Number 



Edi t-'-TifibreC 1 ]^Tone 
Tone = M-W^^ R. Piano 



n 



A B 
A: W/hen using internal Tones, select I. When using 

Tones from a PCM card (optional), select the card 

number. 

B: Specify the number of the Tone (1 — 128) you want 

to use. 



59 



1. Timbre Editing 



Tones can be divided into the following types. Refer to 
the Tone Chart to see the type of each Tone. 



Tone Type 


Number of 
Voices 




Single 


1 


A Tone consisting of a single sound 


Velocity Switch 


1 


A Tone which switches between two sounds according 
to on the key velocity 


Dual 


2 


A Tone consisting of two different sounds 


Detune 


2 


A Tone consisting of two sounds of different pitch 


Velocity mix 


2 


A Tone which mixes two sounds according to the key 
velocity 



■ Using a Separately Sold PCM Card (SN-U110 Series) 

Each card is numbered by type, 01, 02, ■•• Check the number of the card, and insert it firmly 
into the rear panel PCM CARD slot. You may insert a card into either the ri^t or left slot. 
Up to two types of card can be used at once. 




Use Tone Select to select the number of the inserted card, and the number of the Tone you 
want to use. Each card will have a different number of Tones. 

When a PCM card is inserted or removed, operation will briefly stop while the following display 
appears. This is not a malfunction, and operation will resume in a short time. 



Check ing PCM Card 



While playing, the PCM card being tised should be left inserted. 

If you have selected a card Tone but have not inserted the specified card, the following display 

will appear, and there will be no sound. 



Edi t---'Ti nbreH 1 1 .^'Tone 
Tone = e 1-003 Ho Card! 



60 



1. Timbre Editing 



b Level 

These settings determine the voinme of the Timbre, and how the volimie is controlled. 



MARK JUMP 




I±IC!=1C±I1±IC±1C±]1±II±3 



Button 



Parameter 



Display 



CURSOR 



V 

CURSOR 



Timbre Level 
Velocity Sensitivity 



Edi t.--"TiPibr©i: 1 D .-•' L e '-.' e 1 



Channel Aftertouch Sensitivity 



E d i t. .-'■ T i r-1 b r e C 1 1 -■" L e m © I 
■i Ch fift-er Sens=SS 



Env Attack Rate 

Env Decay Rate 

Env Sustain Level 

Env Release Rate 



:di t'-'Ti fibre C 1 H.-'LeMel 



mmbre Level (0—127) 



Edit-'TinbreCll/'Leuel 
\-sve\=W^ Uelo Sens = + 7 ► 



This adjusts the volume of the Timbre. 



►Velocity Sensitivity (—7 h7) 



Edit^'TinbreCl^^Leyel 
Level=127 Ueio Sens=i^ ► 



This determines how velocity will affect volume. 

4^+7 Strongly played notes will be louder 

±0 Velocity will not affect volume 
V - 7 Strongly played notes wi!l be softer 

Volume change when Level = 100 
Output Level 




Velocity Value 



127 



R1 



1. Timbre Editing 



•Channel Aftertouch Sensitivity (-7 — + 7) 

This determines how channel aftertouch will affect 
volume. 



Edit/TipibreCl]''Leuel 
i Ch After Sens^iJ^ 



•Envelope (Env) 



Edit>'TinbreC13xLeyel 
^Env R=am t>=liK S=m§ R=t 

- ^ — 

Attack Rate I Sustain Laval 

Dacey Rate Release Rate 



4v + 7 Stronger aftertouch will increase the volume 

±0 Aftertouch will not affect volume 
V - 7 Stronger aftertouch will decrease the volume 



Each parameter determines how the volume will 
change over time. 



Volume 




A : Attack Rate C-7 — h7) the rate at which the sound begins 
D: Decay Rate (—7 — 4-7) the rate at which the sustain level 

is reached 
S: Sustain Level C~7 — h 7) the volume level at which the 

sound is sustained 
R: Release Rate (-7 — +7) the rate at which the volume 

disappears 

Attack Rate. Decay Rate, Release Rate 
4^+7 Changes more rapidly 

y -• 7 Changes more slowly 

Sustain Level 

A + 7 Increased volume 



\f~7 



Decreased volume 



* These envelope settings have a relative effect on the 
envelope settings of the Tone itself ; I.e., they 
" modify" the standard settings of the envelope 
generator. Unlike the envelopes found on synthesizers, 
they are not "absolute" settings. Depending on the 
selected Tone, identical settings of these values may 
have different results. 



62 



1. Timbre Editing 



c Pitch 

These settings determine the basic pitch, and how the pitch is controlled. 



MARK JUMP 




1 a 3 4 B 6 7 6 

I — iLiicziLnJi iczicincn 



i1 



Button 


Parameter 


Display 


CURSOR 


Pitch Shift Coarse 
Pitch Shift Fine 




Ed i t-'-'T i Fibre C 1 D .■•-P i t-oh 


> 








f 


1 


Bender Range (Bend Down) 
Bender Range (Bend Up) 


1 


Edi t.'-TinbreC 1 3.--"Pi tch 
4 Bender Range=T^^ AM 


k 


1 


Channel Aftertouch Sensitivity 


1 


Edi t-'-T i pibre C 1 3 ^'P i tch 
4 Ch Of ter Sens=iii^ 


*^ 


1 


Polyphonic Aftertouch 
Sensitivity 


1 


Ed i t^-T i p-ibr e 111 ^'P 1 tch 
< Poly Fif ter Sens==i^ 


^ 




Auto Bend Depth 




Edi t..--T i mbre C 1 3 ^'P itch 
4 Pluto Bend Depth=iiM 


> 


1 


Auto Bend Rate 


1 


Edi t^-JimbreC 1 D^-'Pitch 
< fluto Bend Pate=ll!^ 


^ 




Detune Depth 




CURSOR 


Ed i t^'T i nbr e C 1 3 ■■■■■p i tch 
■i D e t u n e D e f- t h = M 


' ' 



►Pitch Shift 



Edit/TinbreE 1 3 -'Pi tch 



Pitch Shift CoarBO 



Pitch Shift Rne 



#Bender Range 



Edit/'Tinbre[13/Pitch 

< Bender Ran9e = T^E Am ► 



Bond Down 

Band Up 



This shifts the basic pitch of the Tone. 
Pitch shift coarse (-24— + 24): 

semitone steps (±2 octaves) 
Pitch shift fine (-50— + 50): 

units of 1 cent (± 50 cents) 



This determines the range of the change in pitch 
when the bender lever is moved left (bend down) 
or right (bend up). 
Bend down (- 36, - 24, - 12—0): 

-3.-2 octaves, semitone steps (-1—0 octaves) 
Bend up (0—12) : semitone steps (0—1 octave) 



63 



1. Timbre Editing 



Channel Aftertouch Sensitivity (~36, ~ 24, -12— -f 12) 

This determines how chaimel aftertouch will affect 

the pitch. 

in units of -3,-2 octave, semitone steps (- 1 — + 1 

octave). 



Edit/'TiPtbreCn^Pitch 
4 Ch fifter Sens=»K 



^ + 12 Stronger aftertouch will raise the pitch 

±0 Aftertouch vwll not affect pitch 
V - 36 Stronger aftertouch will lower the pitch 



Polyphonic Aftertouch Sensitivity (-38,-24, -12— + 12) 

This determined how polyphonic aftertouch will 

affect the pitch. 

In units of -3,-2 octave, semitone steps (- 1 — ^- 1 

octave). 



Edit-'TipibreCn'^Pitch 
< Poly Rfter Sens= 



* Polyphonic aftertouch can be received, but cannot be 
transmitted by the U-20. 



tAuto Bend 

Auto Bend Depth 



Edit/TirtbreC13^Pitch 
< Ruio Bend tieF-th=m&. 



Auto Bend Rate 



Editz-TiPibreCia^Pitch 
i fiuto Bend Rate=l^ 



Auto bend is an effect which causes an automatic 
pitch-bend each time a note is played. 

Depth (-36, -24, -12— +12): Amount of pitch change 

-3,-2 octave, semitone steps (-1 — +1 octaves) 
Rate (0 — 15): Rate of pitch change 

^15 Rapid change in pitch 

y Slow change in pitch 

Higher A 
Pitch ♦ l"~----_ Rate 
Depth 

Lower ^ 




(Detune Depth (0—15) 



Edit^TinbreCn^Pitch 
A Delune Depth=». 



This determines how detune - type Tones are 
detuned. This parameter is meaningful only when 
a detune-type Tone is selected. 



64 



1. Timbre Editing 



d Vibrato 

These settings determine how vibrato (repetitive change in pitch) is applied and 
controlled. 



MARK JUMP 




l±3!±3d=!E±IcSS55 



Button 


Parameter 


Display 


CURSOR 


Rate 
Waveform 




Edit^-'Tir-^breC 1 H^Uibrat-o 




> 


f 


Depth 
Delay Time 




Ed i t..--T i fibre n 1 ] ^-'U i brato 
■4Deptl-i=M Delay TiRe=M ►• 


Rise Time 




Ed i txT i fibre C 1 : ^'U i br at.o 
< Rise Tir'i©=:H ^ 




Modulation Lever Depth 




Ed i ■t.--T i fibre C 1 H ^'U i br at-o 
< Modulation Dept.h=^ ► 




Channel Aftertouch Sensitivity 




Edit^'TinbreC 1 3. -'Ui brato 
< Ch i=!-rter Sens==il > 


Polyphonic Aftertouch 
Sensitivity 




CURSOR 


Ed it-'-Ti fibre C 1 :^--Uibrato 
^1 Poly After S e r s == M 





►Rate (0—63) 



Edit-'TinbreEll-'Uibrato 
Rate=i^ Idavef orn = Tr i ► 



This determines the speed of the vibrato. 
^63 Fast vibrato 

V Modulation becomes slower 

Waveform (Tri, Sine. Square, SawUp, SawDwn, Trill 1, 2, Randm 1—4) 

This selects the waveform of the vibrato LFO. 



Edit-'TiPibretll/Uibrato 
Rate = 5e Uaweforn=^^ > 



Tri Sine Square Saw Up Saw Dwn Trill 1 Trili 2 Randml — ^ 

AA J\f\ r\j\ AA 4V\ -^^ x^Lx ^ 



Random Waveform 



65 



1. Timbre Editing 



•Depth (0—15) 






Edii/TinbreC13/"Jibrato 
^Depth=ai Delay Tine«6 


► 


•Delay Time (0—15) 




Edit''TinbreCn''Uibraio 
<Dept.b = Delay TiMe=l!^ 


► 


•Rise Time (0—15) 




Edit/'TiPibrei: 1 3^Uibrato 

i Rise Time=^ 


► 









This determines the depth of the vibrato. 



This determines the time delay from when the 
sound is played to when the vibrato begins. 



This determines the time from when the vibrato 
begins to when the vibrato depth reaches the 
specified value. 



Delay Time 



Rise Time 



Higlier 



Pitch 



Lower 




Depth 



►Modulation Lever Depth (0—15) 



Edit/'TinbreE 1 3''Uibrato 
< Modulation Depth =!IK > 



This determines how greatly the bender / 
modulation lever will affect the vibrato depth. 



Channel Aftertouch Sensitivity (0—15) 

This determines how channel aftertouch will 
control the amount of vibrato. 



Edit-'TimbreCl ]/lJibrato 
i Ch Rfter Sens=m ► 



Polyphonic Aftertouch Sensitivity (0—15) 

This determines how polyphonic aftertouch will 
control the amount of vibrato. 



Edit/'TinbreC l]-'Uibrato 
i Poly Rfter S©ns=iK 



* Polyphonic aftertouch can be received, but cannot be 
transmitted by the U-20. 



66 



1. Timbre Editing 



e Timbre name 

You can give each Timbre a 12-character name. 



MARK 


JUMP 






It 



cnd3i±ii±ici:c±id=i[±] 



f) 



Move the cursor (underline) to the character you want to change, 
and select a character. 

* The following characters can be used ; 

(space) A— Z a—z 0—9 -/+*.,:;=!"#$%&' 
()<>{} []_? i> 

♦ Pressing NUM8ER[T] will insert a space. Pressing NUMBER [2] 
will delete the character at the cursor, and move the remaining 
characters forward. 



CURSOR 




CZXVAtUE 



VALUE 

V A 





1 




Edi t..--Tinbrei: 1 3 .--Name 










Edit- --■ T i ni b r e C 1 ] .-' N a p-i e 

T i r-^bre Nar■■Ie=:9:+:^:^^:*4:^f::+:^^:^^:^*: 











R7 



2. Storing Timbres (Write Procedure) 



2. Storing Timbres (Write Procedure) 



The various Timbre settings you edit are stored together as a Timbre. Here we 
will explain how to write the edited Timbre settings into the Timbre memory they 
originally occupied. 

* To write a Timbre into a different Timbre memory, refer to 
"Writing a Timbre" (c^^page 136). 



From the Timbre editing display, jump to the Timbre write d isplay. 

BJTER 



®® 



JUMP 





Dat-a/Wr ite-^T iwbr-e C 1 II 
m^^ Tenp: IRl 1-^Ifll 1 



* The display will show the numbers of the edited Timbre and 
the writing destination Timbre. 



Press ENTER once again. 



PART 



EXIT ENTER 



CURSOR 



IT 

50rV / VM.UE 

V A 



Data.--Wr it-e-'-Tir^ibreC 1 3 
Sure? C UPiLUEA ] ..- C EK I T 3 



if you are sure you want t o write the data into the Timbre memory, press VALUE [Aj- (To cancel 
the operation, press ! EXIT 1 to return to the step (D display.) 

® 



PART 
EXIT ENTER — ■- 



Dat-a^-*Ulr i t-e^-'T i Rbr-e C 1 !l 
Func-t- i on Comp let-e - 



cursor 



VALUE 

V A 



\ and in a short time. 



^ 



Dat-a.-'l'Jr- i te.---T i nbre C i 3 



This completes the writing operation. Return to play mode. 



68 



H RHYTHM SET SETTINGS 



The U-20's Rhythm Part can use one of the four Rhythm Sets you create. Here we 
will explain how to create a Rhythm Set. 

hi a Rhythm Set, you can assign any desired Tone to each key. Usually you will use 
the drum Tone (T128) of the internal memory, but you are free to use any other 
internal Tones, or Tones from a PCM card (optional). You can also edit the sound 
for each key, in the same way as for Timbres. 



Rhythm Set Name 



Bender Range 



^Bend Up 
\Bend Down 



Instrument (81— D7) 



rTone- 



Tone Select ic 
Source key 
Mute 



-Level 

Level -A" 


Velocity sensitivity -k 


Envelope mode 


Envelope CA.D.R) ic 



rPitch- 



Pitch Shift /Pitch Coarse -k 

\ Pitch Fine ■*■ 
Channel Aftertouch 

Sensitivity -k 
Polyphonic Aftertouch 

Sensitivity ■*■ 
Pitch Randomize 
Auto Bend Depth -k 
Auto Bend Rate ■*■ 
Detune Depth k 



(-Output 

Output Assign ix 
Pan T*r 



k : Functions in the same way as with Timbre parameters. 
it : Functions in the same way as for Part 1 — 6 parameters. 



RQ 



1. Settings for Each Key 



1. Settings for Each Key 



Here's how to edit the sound for each key B1~D7. 

■ Basic Editing Procedure 

Before you begin editing, select Rhythm Play mode and 
use the following procedure so that you will be able to 
hear the sound of each key while you edit. 



0) Select the parameter group. 
[Epm -^ CURSOR fFI (Select Rhythm) 



Ed i t I betuF I K'=tbd 

Chord B Sound i T i nbre I mmmmm 



I ENTER I 



Edit-^'Rhythr-'i 
Name B Bender 



CURSOR flH (Select instrument) -» I ENTER! 



Edit. .-■■ R h y t h m .-•' I n s t 

m^m.\ Leyell Pitch I Output 



* To edit the name of the Rhythm Set, select "Name". To edit the bender 
range, select "Bender". 



©Select the parameter group to edit. 
r<1CURS0R[»n^ lENTERl 



Edit .-•• R h y t h m .-- 1 n s t 

W^^^ I L e M e 1 I P i t c h i u t p u t 



T \ [ 



Tone 



Level 



Pitch 



Output 



EXIT 



) Select the parameter to edit 
[^CURSOR r^ 



Edit y R h y t h fi .-■■ I n s t ^' * * ^■■ 



® Modify the value. 
HVALUEH or the VALUE slider 



Select the key 
(note name). 



Continue to the Write operation 



70 



1. Settings for Each Key 



»Use the keyboard to select the key to edit 



1111 



E d i t ^ R h y t h pi -■- Inst. .-- * -i- ^^: 

D 2 ! * * * W-: * * H-- H^: + * 



*To select the B1, C#7 or D7 keys, you must first use l<ey 

transpose to move the keyboard range. 
* Edited settings are temporary. If you want to store your edits, 

you must use the Rhythm Set writing procedure (c^page 79). 



a Selecting tones 

Here's how to select a Tone to assign to the Rhjrthm Set. 



Select a parameter from the tone parameter group. 



Button 


Parameter 


Display 


CURSOR 


Tone Select 


Edit y R h y t. h r-i .•-■ I n s. t- .■-• T o n e 


k 


1 






> 


' 


A B 


Source Key 
Mute 




CURSOR 


E d i t ^■' R ki y t- h n .■■- Inst --■ T o n e 





#Tone Select 



Select the Tone that each key will sound. You may also 
select a Tone other than the drum Tone (1-128). 

A : When using internal Tones, select I. 

When using PCM card Tones, select the card number CI, 2. — ). 
B: Select the Tone number (1—128). 



71 



1. Settings for Each Key 



ISource Key (B1— D7) 



Determine which key of the selected Tone will be used. 
Example : Assign the sound of the A # 3 key of the 

selected Tone to the E2 key of the Rhythm 

Set. 

Selected Tone 



Edit .-■■■ R h y t h m y ln=-t .-•■ Tone 

E2 ~ ■iSoijrc-€f=W^M Mut-e^Off 





IA#3 



Plil 



►Mute (Off, B1— D7) 



* The chart on page 1 67 shows the riiythm sound played by 
each key of the drums Tone (1-128). 

This allows you to mute the sound of a selected key 
•■• especially useful for hi-hat or cymbal. 
Example : Sound the closed hi-hat (F # 2 key) and mute 
the open hi-hat (A # 2 key). 



Ed i t'-'Rhy thR^' I nst---Tone 
F#2: ■^Source=F#2 Mute=l 




A#2 




F#2 



The open hi-hat will sound The doaod h)-hat will sound, 
and the open hi- hat wrftJ be 
muted. 



b Level 

Set the volume of each key, and determine how the volume will change. 



Select a parameter from the level parameter group. 



Button 



CURSOR 



V 

CURSOR 



Parameter 



Level 

Velocity Sensitivity 



Envelope Mode 



Env Attack Rate 
Env Decay Rate 
Env Release Rate 



Display 



E d i t ''^ R h y t- h m .-■ I n s t .■■' L e u e 1 



Edit .■■■' R h y t h n --^ I n s t ■-■' L e '-' e 1 
C2 : ■flEnM Mode=l 



Ed i t--'Rhy t-hm--" I nst...-^LeMe 1 



72 



1. Settings for Each Key 



►Level (0—31) 



This adjusts the volume of each key, allowing you to 
balance the volumes of the rhythm sotmds. 



►Velocity Sensitivity (-7 — 1-7) 

This determines how velocity will affect the volimae. 

A + 7 Strongly played notes will be louder 

± Velocity will not affect volume 
V ~ 7 Strongly played notes will be softer 

Volume change when Level = 100 

Output Level 




Velocity Value 



^Envelope Mode (Sustain, NoSustain) 

Sustain : receive note off messages 



Volume 




I Envelope 



NoSustain : ignore note off messages 
A/ \r 



Volume 




A 

Key on 



Time 



When using a sequencer or rhythm machine to play the 
U-20's rhythm soimds, be sure to select NoSustain. 

These settings make adjustments to the change in voliame 
over time (the envelope). 
A: Attack Rate (-7 — + 7) 
D: Decay Rate (-7— + 7) 
R: Release Rate (-7— + 7) 

A + 7 Faster change 

V "- 7 Slower change 

* These settings are relative to the envelope settings of the 
Tone. The same settings will have different results when used 
on different Tones. 



73 



1. Settings for Each Key 



c Pitch 

These settings determine the pitch of each key, and how the pitch will change. 



Select a parameter from the pitch parameter group. 



Button 


Parameter 


Display 


CURSOR 

-tm 


Pitch Shift Coarse 
Pitch Shift Fine 




Ed i t..--Rhy thfi.-- 1 rist..--P i t.ch 






> 


r 




Channel Aftertouch Sensitivity 




Ed i t..--Rhy thpv-- 1 nst.--P i tch 
C2 s -^Ch fif ter Sens-lill ► 




Polyphonic Aftertouch 
Sensitivity 




Ed i t.'-Rhy thm.'' I nst.-'P i tc-h 
C2 MPc-ly Rft- Sens:=l^ In- 




Pitch Randomize 




Ed i t-'-Rhythiv,.-- 1 nst..--P i tch 
C2 : ■< P i tch Randor'i i ze=li In- 




Auto Bend Depth 




Ed i t^-'Rhy t hr-'u-' I nst^P i tch 
C2 s^Ruto Bend Dpth=rai ► 




Auto Bend Rate 




Edi txRhythn-i--'Inst^'Pitch 
C2 Mfiuto Bend Rate=li > 




Detune Depth 




CURSOR 


Ed i t.-^ Rhythm^ I nst--'P i tch 
C 2 '-4 D e t u n e D e p t h -B 









(Pitch Shift 



This adjusts the pitch. 

Pitch Shift Coarse (- 36, - 24, - 12-+ 12): 

- 3, - Z - 1 — +1 octave (in semitone steps) 
Pitch Shift Fine (-50— + 50): in steps of 1 cent 



►Channel Aftertouch Sensitivity (-36, -24, -12— + 12) 

This determines how channel aftertouch will affect the 
pitch. 

^ + 12 Stronger aftertouch will raise the pitch 

±0 Aftertouch will not affect the pitch 

V — 36 Stronger aftertouch will lower the pitch 



74 



1. Settings for Each Key 



•Polyphonic Aftertouch Sensitivity (-36, -24, -12— + 12) 

This determines how polyphonic aftertouch will affect 
the pitch. 

* The U-20 can receive, but not transmit polyphonic aftertouch 
control data. 



►Pitch Randomize (0—15) 



This randomly varies the pitch each time the note is 
played. 

^15 Much random pitch change 
V No random pitch change 



kAuto Bend 



This effect adds an automatic pitch bend each time the 
note is played. 

Higher ^ 
Pitch 
Depth 



Lower Y 




Time 



Depth (-36. -24. - 12-+ 12): 

amount of pitch change (- 3, -2, - 1 — + 1 octave) 
Rate (0—15): speed of pitch change 

^15 Rapid pitch change 



w 



Slow pitch change 



#Detune Depth (0 — 15) This determines how dettme-type Tones will be detuned. 

This setting is effective only when detune-type Tones 
are selected. (o-Refer to page 166, "Preset Tone List".) 



7R 



1. Settings for Each Key 



d Output 

For each key, you can make pan settings and determine whether to use an effect. 



Select a parameter from the output parameter eroup. 



Button 


Parameter 


Display 


CURSOR 


Output Assign 
Pan 






Edit.^Rhythp-i/Inst--^Ouiput. 


A 

V 

CURSOR 







#Output Assign (Dry, Rev, Cho, Dir) 

Select the effect to use for each key. For the chorus effect, 
the result will depend on the chorus out mode (sound 
patch) setting (o-page 53). 



Output Mode 


Effect 


Output Jacks 


Dry 


No effect is used 


MIX OUT 


Rev 


Only Reverb 


Cho 


Pre Rev : Chorus and Reverb 
Post Rev : Only Chorus 


Dir 


No effect is used 


DIRECT OUT 



(Pan ( 7 > — >< 



* If nothing is plugged in to the DIRECT OUT jacks, the signal 
from the DIRECT OUT jacks wilt be output from the MIX OUT 
jacks. 

< 7. Rnd) 

This determines the pan setting (stereo placement). When 
Rnd is selected, the stereo position will randomly change 
each time the sound is played. 



Left 
o 

O 



7> 



Center 



X 



Right 
O 

o 



<7 



76 



2. Other Settings 



2. Other Settings 



In addition to the various settings for each key, you can set the bender range, and 
give a name to the Rhythm Set. 



©Select the parameter group of the Rhythm Set 
flBifl - CURSOR IE] CSelect "Rhythm") 



Edit I Setup I Kybd 

Chord I Sound I T i nbre I M^MMil 



nsnim 



Edi t^-'RhythM 
I^^HI^I Bender I Inst 



Rhythm Set Name 

Bender Range 



) Select the parameter group to edit 
BJCURSORE] (Select "Bender" or "Name") -[MiB 



(D Select the parameter to edit 

H CURSOR H 
©Modify the value. 
raVALUErgHor the VALUE slider 



Continue to the Write operation 



EXIT 



77 



2. Other Settings 



Bender Range 



Rhythm Set Name 



Ed i t..--'Rhy thR-'-'Bender 
Bender- Rarige=T^ 



ii2 



This determines the amount of pitch change that occurs 
when you bend down (move the lever to the left) or bend 
up (move the lever to the right). 

Bend down (-36, -24, - 12— ±0): -3. - 2, - 1—0 octaves 
Bend up (0 — 12): in semitone steps (0—1 octave) 



E d i t. ^■■' R h y t h m y' H a m e 

R h y t. h n H a nt e = S t a n d a r d 



iW 



t 



You can give each Rhythm Set a 12-character name. Move 
the cursor (underline) to the character you want to 
modify, and select a new character. 

* Selectable characters : 

(space) A— Z a— z 0—9 -/+*..:;=!"#$%&' 
()<>{} t]_? Ji 

♦ Pressing NUMBER[T] will insert a space. Pressing NUMBER[2] 
will delete the character at the cursor, and move the remaining 
characters forward. 



78 



3. Storing a Rhythm Set (Writing Procedure) 



3. Storing a Rhythm Set (Writing Procedure) 



Here we will explain how to store an edited Rhythm Set back into the memory 
number it originally occupied. 

* If you want to store it into a different memory, refer to 
"Writing Chord Sets/ Rliytlim Sets" (o-page 139). 



From the Rhythm Set editing display. 

(J)(D JUMP ENTER 



ump to the Rhythm Sat writing display. 





D a t a ■■■- U r- i t. e ^- R h y t- h n 

^^^BM Tep-ip: II ■*! 1 



* The display will show the number of the edited Rhythm Set, 
and the number of the Rhythm Set into which the data will 
be written. 



PART 
EXIT ENTER — fc- 



n 






n 

— V 


a. 


UE 

A 









D a t. a ■■■■' y r i t. © ^-' H h y t h n 

Sure? CUfiLUEAD ^ [EXIT3 



If you are su re you want to store the data into memory, press VALUE[a]- (To quit without writing, 
press I EXIT | .) 

® 



PART 



EXIT ENTER 



CURSOR 



D a t. a .■•' y rite .-•• R h y t h pi 

Function Compl ete. 



VALUE 

V A 




This completes the writing operation. Return to play mode. 



79 



MEMO 



80 












SECTION n 



SYSTEM SETUPS 



-Using the U-20 with MIDI 



. *- ■ 1 

I * 






bnnections between the U-20's internal sotuid generator and keyboard foilow the same concep 
s MJDl The explanations in this section will help you make effective use of the U-20 whe 
sing it as part of a MIDI system, and also when using the U-20 by itself. 




''!'°^ ^- Vi-^ij 

lannels B- ^'iVJ'-^ 

■ Is* ■• I. 








g HOW THE U-20 USES MIDI 

1. Editing the MID! Parameters 

a. Editing procedure 

b.MIDI parameters 

Z Musical Performance Data 

a. Keyboard Patch 

b. Setup (keyboard) 

c. Sound Patch (part 1 —6. rhythm part) 

3. Program Change 

a. Selecting Patches and Timbres 
from an external MIDI device 

b. Transmitting program changes 

from a Keyboard Patch 

4. Using Controllers 

5. Exclusive Messages 

■ Local Control Switch (Off, On) 

■ Tx Active Sensing Switch (Off, On) ■ • • 
Writing Procedure for MIDI Settings ■■■ 
MIDI Settings of Factory Settings 

TAKING FULL ADVANTAGE 
OF THE U-20 

.Using the U-20 by itself 

2. Using a Sequencer 

Veiocitv Offset and Sensitivitv 






8 

8 

91 

9" 

9 

9 

9 



••9 

•10" 

■10 

■10- 

■10. 

■10 

■10 












PRr^-ivs..'" ■ :■".— •.-! ^.■-'.• *■ ■■■ . **- "fsf 

P™ ■>».-. «?1?: - ."«■■ ■"■*■'■ ' - "'If"!' 

«■¥&■■ ■•.-,■! ■ V . ^ ■ ." ■ ■* ■?• - 




- -^-z- 






Q ABOUT MIDI 



Here we will explain the MIDI concepts that you will need to understand when using 
the U-20. Please be sure to read this explanation before using MIDL 

MIDI (Musical Instrument Digital Interface) is a world-wide 
standard for sending and receiving musical data such as 
notes and controller movements. If a device has MIDI, 
it can be connected to any other MIDI device (even of 
a different type or manufacturer) to exchange musical 
data. 

MIDI transmits various types of musical data ; for 
example, data indicating that a key has been pressed/ 
released, or that a controller has been moved, etc. When 
you play a MIDI-equipped Instrument, it transmits MIDI 
data to indicate the notes that are being played. Another 
MIDI device that receives this data will produce sound 
just as though it were the instrument being played. 



1. How MIDI Data is Transmitted and Received 



Here is how MIDI data is transmitted and received. 



a Connections 

MIDI-equipped devices usually have three connectors ; M, OUT, and THRU. Use a 
MIDI cable to connect these connectors to other devices as needed. 




Accepts MIDI data 

Connect to the MIDI OUT or MIDI THRU of another device 



1==^ This connector transmits data ■ 
from the unit itself 



h=z^ Passes MIDI data received from MIDI IN 



Connect to the MIDI IN of another device 



82 



1. How MID! Data Is Transmitted and Received 



»Using the U-20 to control external sound generators 

When using the U-20 to control other sound generator 
modules or synthesizers, make connections as follows. 



MIDI 
OUT 



■llliMW 



MIDI 
IN 



Sound Generator Module 



U-20 



►Controlling the U-20 from external devices 

When using an external sequencer or MIDI keyboard to 
control the U-20, make connections as follows. 



MIDI 

OUT 



e.i=^: 



lilMliliff Hi IB II 



MIDI 
IN 



MIDI Keyboard 



U-20 



»Using MIDI THRU 



By using MIDI THRU, you can connect two or more 
devices. 



MICH 
OUT 




Sequencer 



MIDI MIDI 
IN THRU 




liiili: 



u-20 



MIDI 
IN 



MIDI 
THRU 



MIDI 
IN 



* It is theoretically possible to use MIDI THRU to connect as 
many devices as you like, but in practice, four or five units is 
the limit. Running a MIDI signal through six or more THRUs 
can result in garbled data transmit. 



1. How MIDI Data is Transmitted and Received 



Using "channels", MIDI can transmit data mdependently to multiple devices over 
a single cable. 

You may think of MIDI channels as being similar to 
television channels. By switching channels on a television 
receiver, you can receive many different broadcasts. When 
the channel of the transmitter matches the channel of 
the receiver, the data of that channel is received. 



Broadcasting 
1 


Channel 1 






Broadcasting 
2 


Channel 2 






Broadcasting 
3 


Channel 3 
















Set the receiver (TV set) 
to the channel you want 
to watch. 












f 1 
I J 




C3 


1=1 

o 
a 

o 












,,, 





Many different T.V. messages (e.g. ch 1,2, 3) are 
simultaneously being sent through the cable from an 
antenna. 



Sounds 



MIDI has sixteen channels, numbered 1 — 16. When the 
MIDI channel of the receiving device matches the MIDI 
channel of the transmitting device, the data arriving on 
that channel is received. 



MIDI 
OUT 











Transmit Channel 1 



MIDI 
IN 



Receive Channel 1 



Does not sound 



MIDI 
OUT 





Transmit Channel 2 
Only Sound Generator Module B Sounds 



MIDI 
IN 



Receive Channel 1 



Transmit Channel 2 

















Sound Generator Module A 




Sound Generator Module B 


MIDI 
OUT 


MIDI 
IN 




MID) 
THRU 






MIDI 

IN 

[ , 






p, ,-i-,-i 1 1 1 ■■■■r-i-i 1 1 — ] n 

„ r-, r"i"i 1 1 ,-T-.-r"r-i ! 1 n 




n ■-i-r-r-.-i i 1 1 1 1 1 1 < { | 1 1 

„ ,..: ,,„., ,..,-, 1 1 ,11111 1 I n 


FS-I 


1 


III 


1 


III 


1 


III 


1 


III 


I 


III 


■■ 


Receive 


Ch 


inne! 1 




Receive C 


ilhannel 2 



84 



2. MIDI Data Used by the U-20 



2. MIDI Data Used by the U-20 



MIDI uses various types of "message" to transmit data. The U-20 uses the following 
types of MIDI message. 



Channel Voice Messages 


Note Data 
Program Change 
Control Change 
Pitch Bender 
Aftertouch 


System Messages 


Exclusive Messages etc. 



■ Channel Voice Messages 

Channel voice messages are transmitted and received on a specific MIDI channel. 
These messages include basic types of musical data. 

#Note : messages from the keyboard 

Note messages tell how the keyboard is being played. 
They indicate which key (the note number) was played, 
and how strongly (the velocity). Similar messages are 
transmitted when a key is released. For the U-20's Rhythm 
Part and most other rhythm machines, each note number 
will play a different rhythm sound. 

•Program Change : data that selects sounds 

Program change messages are used mainly to select 
sounds. The U-20 uses program change messages to switch 
Keyboard Patches, Sound Patches, Timbres, and Rhythm 
Setups. Devices made by different manufactiu-ers will 
respond in different ways to program change messages. 
Check the manuals for your equipment. 

•Control Change : data for musical expression 

Control change messages control musical expressions such 
as vibrato, hold, volume, and pan. In addition to its bender 
lever (modulation) and hold pedal, the U-20 can transmit 
control change messages using three other controllers 
(EXT, CI, C2). These control change messages can control 
not only Timbre and Effect parameters for the U-20's 
own internal sound generator, but can also control external 
MIDI devices. Devices made by different manufacturers 
may transmit and receive different types of control change 
message, and respond in different ways to these messages. 
Consult the MIDI implementation charts of your equipment 
to see which control change messages are transmitted 
and received. 



2. MIDI Data Used by the U-20 



(Pitch Bender 



•Aftertouch 



Pitch bender messages transmit the position of the pitch 
bender lever. Only the position of the lever is transmitted, 
meaning that the actual pitch change (bend range) will 
depend on the settings of the somid generator. In the 
U-20, the pitch bend range is determined by a Timbre 
or Rhythm Set parameter. 

Aftertouch data transmits the force with which you press 
down on the keyboard after playing a note. The effect 
this will have depends on the settings of the soimd 
generator. Aftertouch is divided into "channel aftertouch" 
and "polyphonic aftertouch". 

Channel aftertouch transmits a single aftertouch value 
telling the pressure of the key being pressed most 
strongly, and affects the entire MIDI channel. 
Polyphonic aftertouch transmits an aftertouch value for 
each key, telling how strongly each key is being pressed. 
This allows you to individually control the sound of each 
note being pressed, even within a single MIDI channel. 
The U-20's so;md generator responds to both types of 
aftertouch, but only channel aftertouch can be controlled 
from the U-20's keyboard. 



■ System Messages 

System messages are used to control all devices in the entire MIDI-connected system, 
regardless of their channel number. In addition to exclusive messages (explained 
below), system messages include various types of message used by sequencers, 
and messages that help the system keep running properly. 



•Exclusive Messages 



Exclusive messages carry data imique to each device, such 
as data for a device's internal memory. Normally, they 
are transmitted and received only between devices of the 
same type made by the same manufacturer. For example, 
you can use exclusive messages to transmit U-20 Timbre 
or Patch data to another U-20, or to store U-20 Timbre 
or Patch data in a sequencer. 



86 



2. MIDI Data Used by the U-20 



■ About the MIDI Implementation Chart 

ME)I is able to transmit and receive data between various types of device, but not aU devices 
are able to transmit and receive the same types of data. The ownere manual of each MIDI 
device has a "MIDI Implementation Chart" which shows the types of data that the device 
is able to transmit and receive. (»=^page 191) 

AU miplementation charts are a standard size, so that you can place two charts side by side 
to see how two devices will be able to communicate with each other. 



Turn 




MIDI Implementation Chart 



Function Tiwundnail 



nnviiad Rmwla 



Instrument A 
Implementation Chart 



Instrument B 
Implementation Chart 



0HOW THE U-20 USES MIDI 



The U-20's MIDI functions allow it to act as a mnlti-timbral sound generator and 
also as a keyboard controller. Here, after explaining how the U-20's MIDI system is 
organized, we will explam the U-20's MIDI functions and settings that apply to each 
type of MIDI data. (For details, refer to "MIDI Implementation" (o-page 178).) 



1. Editing the MIDI Parameters 



Here we will explain how the U-20's MIDI parameters are organized, and how to 
edit them. 

a Editing procedure 

Editing procedure for MIDI parameters is essentially the same as when editing Patches 
or Timbres. The various MIDI parameters are related in many ways. Before you make 
settings, make sure that you understand how the U-20 is organized, and what you 
want to accomplish with your settings. 



Select a Part. 

(the Part settings of a 

Sound Patch) 

SpartH 



©Jump to the parameter group. 




raoKiPi — ^ BANKm-rei-r^CTngn 










©Select a parameter/ check settings. 
B]CURSOR[E] 












©Modify the setting value. 
LvJVALUEIaJ. value slider 











Continue to the Write operation 



* Edits for parameters settable for each Keyboard Patch or Sound 
Patch are temporary. If you want to keep your edited settings, 
write them into memory (o-page 133). 
There is no need to write setup parameters into memory. 



fifi 



1. Editing the MIDI Parameters 



The U-20 has the following MIDI parameters. These parameters are effective in Link 
Play mode, Keyboard Patch mode, and Sound Patch mode. In other play modes, only 
some of these parameters will be effective. 



r-Parformance Gestures-n 

illi 



1^=^ 




MIDI IN 



r 





Satup 




M-^MIDI Data 
c=^ Audio Signal 




MIX OUT 

@ @ 

DIRECT OUT 
© © 



MIDI OUT 



Setup (shared by all Patches) 



Keyboard Patch (specified for each Patch) 



Common 

Local Contra! Switch 

Device ID 

Patch Dump Switch 

Rx System Exclusive Switch 

Keyboard 

/ Rx Control Channel 
Tx Setup Channel 
Tx Control Change Switch 
Tx Program Change Switch 
Tx Channel Aftertouch Switch 
Tx Active Sensing Switch 



I 



Sound 



( 



Rx Control Channel 

Rx Timbre Change Switch 



Tx Channei 
Tx Arpeggio Channel 
Tx Control Channel 
Tx Program Number 
EXT/C1/C2 Controller 

(Channel N 

Control Number / 



Sound Patch (specified for each Patch) 


Part 


s 1—6 

/ Rx Channel 
Key Range 
Velocity Range 
Rx Volume Switch 
RX Pan Swritch 

\ Rx Hold Switch 


Rhythm Part 
/ Rx Channel 

Rx Volume Switch 
\ Rx Hold Switch 


Control 

Parameter 1 — 3 

/ Control Number \ 

\ Parameter Select / 



89 



1. Editing the MIDI Parameters 



Setup 



Here's how to jump to each parameter group. The 
parameter group will be indicated in the upper line of 
the display. 

These settings include parameters related to exclusive 
messages, and settings shared by all Keyboard Patches 
and Soimd Patches. Since edited values are directly stored, 
there is no need to write them into memory. 



#Common 



JUMP| -> BANK Q] Ed i t.x-Setup.-'M I D I .-'CoiviPion 



These settings turn local control on/ off, and determine 
how exclusive messages are handled. 



»Kybd 



JUMP -> BANK 2 



Ed i t-^SetuF-^M I D I . -Kybd 

These settings are shared by all keyboard patches ; the 
Rx control channel that selects keyboard patches, and the 
transmit switch for control change and aftertouch 
messages. 



»Sound 



JUMP -► BANK 3 



Ed i t.^Set.up.4'1 1 D I .-^Sound 



These parameters are shared by all Sound Patches ; the 
Rx control channel that selects Sound Patches, and the 
Timbre change receive switch. 



Kybd 



Sound 



JUMP -*- BANK 4 



Edit.-Kybd.-MIDI 
These parameters are set for each Keyboard Patch. Edited 
settings will be stored into memory by the Keyboard 
Patch writing operation. 

These parameters are set for each Sound Patch. Edited 
settings will be stored into memory by the Sound Patch 
writing operation. 



iPart 1—6 UUMPH BANKfSl Edit.---Sound.--Partl.--MIDI 

These settings determine the Rx channel, key range, and 
velocity range of each Part. Use HpART[^] to select 
Parts. 



►R.Part (Rhythm Part) 



JUMP -^ RHYTHM 



CURSOR [►] (press twice) 
Ed i t.-'Sourid.--R . Part 
This determines the Rx channel of the Rhythm Part. 



ICtrl (Control) 



JUMP -> BANK 6 



Ed i t"-"'bound.-"Ctr 1 



These determine the Sound Patch parameters which will 
be affected by control change messages from external 
MIDI devices or from the Keyboard Patch. 



90 



2. Musical Performance Data 



2. Musical Performance Data 



Here we will explain the settings that determine how musical performance data 
is handled — data from the keyboard, pitch bender, or modulation. 

The following diagram shows how musical performance 
data is handled. 



rPerformance Gestures— i 

1111 



Keyboard 
Bender 




Hold CDP-2, DP-6) 





Keyboard 
Patch 






1 




1 



— ^MIDI Data 
c=:^ Audio Signal 




r 

I Setup , 

I (Keyboard) ■ 

I ] 



I 




O o]] MIDI OUT 



4==^ 



MIX OUT 
© © 

© @ 



DIRECT OUT 



a Keyboard Patch 



When you play the U-20, the Keyboard Patch converts yoiir playing into MIDI data. 
Each Keyboard Patch includes the following settings. 



-Performance Gestures- 
Keyboard 




Note Data (Note on/off. Velocity) 
Aftertouch 



Pitch Bend 
Modulation 




Hold 



Keyboard Patch 


Tx Ch 


Tx Arpeggio Ch 


1 



MIDI Data 



91 



Z Musical Performance Data 



Select a Parameter 
iJUMPI -> BANKH -^ BJCURSORH 
Tx Channel, Tx Arpeggio Channel 



Edit^Kybd.''MIDI 
Tx Ch=iffli Tx Rrp 



Ch=l 



•Tx Ch : Tx Channel (1 



16, Set) 

Notes you play on the keyboard and control change data 
that results when you use the bender lever, hold pedal, 
etc. will be transmitted on this channel. K this is set 
to Set, data will be transmitted on the Tx setup ch Co- 
page 93). 

For example if the Tx setup ch is "1" and the keyboard 
patch Tx ch is "Set", note data will be transmitted on 
channel 1. By setting the Tx ch of several Keyboard 
Patches to "Set", you will be able to change the Tx ch 
of all these Keyboard Patches by simply changing the 
Tx setup ch. 



•Tx Arp Ch : Tx Arpeggio Channel (1 — 16, Set, Tx) 

When using the arpeggio play fimction, it is possible to 
send the arpeggiated notes on a different MIDI channel. 
If this is set to Tx. the Tx ch will be used. If this is 
set to Set, the Tx setup ch will be used. These settings 
will have the following results. 



Tx Arp Ch 


During Arpeggio Play 


Note Data during 
Norma! Playing 


Notes you Play 


Notes of the 
Arpeggio 


When specified 
channel is different 
than Tx ch 


Tx Ch 


Tx Arp Ch 


Tx Ch 


When specified 
channel is Tx" or 
the same as Tx ch 


Not Output 


Tx Ch 


Tx Ch 



92 



2. Musical Performance Data 



b Setup (keyboard) 



Setup (keyboard) determines the Tx setup ch and whether or not to transmit 
aftertouch data. These settings are shared by each Keyboard Patch. 



^^MIDI Data 
cs:^ Audio Signal 



■=> 




MID! OUT 



IJUMPI -* BANKI 
Tx Setup Ch 



Select a Parameter 
■ [H CURSOR E 



Edit.--Set.upxmDlxK'=ibd 
< Tx Setup Ch=Pl 



Tx Channel Aftertouch Switch 



Edit--'SetuR.-'MIDI.''Kybd 
4 Tx Ch fif t-er- touch ==iS 



►Tx Setup Channel (1—16) 

Use this when you want to transmit the performance data 
of each Keyboard Patch on the same channel. If you 
specify "Set" for the Tx ch (>^page 92) of each Keyboard 
Patch, each Keyboard Patch will transmit on the Tx setup 
ch specified here. 

►Tx Channel Aftertouch Switch (Off, On) 

This determines whether or not to transmit channel 
aftertouch data from MIDI OUT. 



Q^ 



2. Musical Performance Data 



c. Sound Patch (part 1 — 6, rhythm part) 



In a Sound Patch, data from the Keyboard Patch and from external MIDI devices 
is received by each Part on its own Rx channel. These settings determine the Rx 
channel for each Part. 





Sound Patch 






Part 1 Rx Ch 

Key Range 
Velocity Range 




^ 






*— — > 


Part 2 Rx Ch 

Key Range 
Velocity Range 






. 






R.Part 

Rx Ch 










1 







— i^MIDI Data 
c=:::|> Audio Signal 



=0 



MIX OUT 

© © 

DIRECT OUT 

© © 



Part 1—6 



Rhythm Part 



Select a Parameter /Select a Part 
IJUMPi -> BANK[I]->a]CURSOR[E] \ HPARTH 



Rx Ch 



Ed i t.--Sound.---Par-t 1 .--n I D I 



Key Range 



Ed i t.^Sourid.-'F'art. 1 -■■■M I D I 
< Key Range ^M - M 



Velocity Range 



E d i t .-■■ S o u n d .-- P a r 1 1 . •-• M I D I 
■4 U e 1 o R a n 9 e M - M 



IJUMPI -* jRHYTHMi -^ CURSORfB (press twice) 
Rx Ch 



E d i t .-- S o u n d -•- R - P a r- 1 



94 



2. Musica} Performance Data 



►Part Rx Ch (1—16, Off) 



►Key Range (01— G9) 



This determines the receive channel for each Part. When 
playing the U-20's keyboard, make sure that the Rx ch 
of the part you want to play matches the Tx ch of the 
keyboard. By setting two or more Parts to the same Rx 
ch, you can play them in unison from the keyboard. Set 
unused Parts to "Off". 

When using a sequencer to play the U-20's sound 
generator, set the Rx ch of each Part to match the chaimel 
of the incoming data from the sequencer. Set the Rx 
channel for the Rhythm Part in the same way. 

This determines the range over which note data will be 
received by each Part. Key range is specified using note 
names. By setting two or more Parts to the same Rx ch 
and setting different key ranges for each Part, you can 
play different sounds from different areas of the keyboard. 
Middle C is C4. (d- Refer to page 7, "Front and Rear 
Panel".) 

Example : Split bass and brass sounds around the C4 key 





Part 1 


Part 2 


Rx Ch 


1 


1 


Key Range 


C-1 -B3 


C4-G9 


Timbre 


Bass Sound 


Brass Sound 



* Keyboard Tx Cli : 1 



►Velocity Range (1—127) 



This determines the velocity range which will be received 
by each Part. By setting two or more Parts to the same 
Rx ch and setting different velocity ranges for each Part, 
you can play different soiinds by changing the force 
(velocity) of your playing. 

Example : Softly played notes sound a fingered bass, 
strongly played notes sound a slap bass. 





Part 1 


Part 2 


Rx Ch 


1 


1 


Velocity Range 


1-99 


100-127 


Timbre 


Fingered Bass Sound 


Slap Bass Sound 



* Keyboard Tx Ch : 1 



95 



3. Program Change 



3. Program Change 



Program change data can select the U-20's Patches and Timbres. 

Keyboard Patches, Sound Patches, and Timbres correspond 
to program changes as follows. 

Keyboard Patch/ Sound Patch 



^^--^ 


Patch Number 


Program 
Change Number 


Internal Patch 


Ml— 1-88 


1-64 


Card Patch 


C-1 1—0^8 


65—128 



Timbre 



^-^ 


Timbre Number 


Program 
Change Number 


A Group 


A11— A88 


1—64 


B Group 


B11— B88 


65-128 



The play mode displays allow you to check the program 
change number corresponding to the selected Patch or 
Timbre. 



Program Change Number of Keyboard Patch 

1 



I-ll #001 s Standard 

I-l 1 #001 = ficoust Piano 



Program Change Number of Sound Patch 



96 



3. Program Change 



To switch U20 Keyboard Patches, Sound Patches, and Tunbres from an external 
MIDI device, set the following parameters. 

* Program change data received from external devices will have 
the same result in all play modes (except ROM play mode). 




MIDI Data 







[ 
1 


Sound 
Patch 




1 


1 



Setup (Keyboard) 
IJUMPI ^ BANKlH 

Rx Control Ch 



Ed i t-.-^Setup-'-M I D I ^-Kybd 
Rx Control Ch-l^m 



Setup (Sound) 



IJUMPI -* BANKI 

Rx Control Ch 



Select a Parameter 

■ HcursorE 



Ed i t.--Set.up.-^M I D I -^'Sound 
R-x Control Ch~MW. 



Rx Timbre Change Switch 



Ed i t.-'Setup^--M I D I .-■■Sound 
^ Rx Tinbre Change=l|j 



Q7 



3. Program Change 



•Keyboard Patch Rx Control Ch (1—16, Off) 

Program changes received on this channel will select 
Keyboard Patches. When set to Off, patches will not be 
selected. 

•Sound Patch Rx Control Ch (1—16. Off) 

Program changes received on this channel will select 
Sound Patches. When set to Off, patches will not be 
selected. 

•Rx Timbre Change Switch (Off, On) 

When "On" is selected, program changes from an external 
device or from the keyboard patch will switch the Timbre 
of the specified Part. 

Example of channel settings for switching Patches and/or Timbres 



Example 


To select only the 
Keyboard Patch 


To select only the 
Sound Patch 


To simultaneously 
select the 
Keyboard Patch and 
the Sound Patch 


To select the 
Timbre of Part 1 
(Part 1 RxCh=1} 


Channel on which program 
change data is transmitted 


16 


16 


16 


1 


Setup 


Kybd 


Rx Control Ch 


16 


Off. or 
other than 16 


16 


Off. or 
other than 1 


Sound 


Rx Control Ch 


Off. or 
other than 16 


16 


16 


Off. or 
other than 1 


Rx Timbre 
Change 








On 









98 



3. Program Change 



program changes from a Keyboard Patch 

It IS possible to transmit a program change whenever you press a front panel button 
to select a Keyboard Patch. You can use this to select a desired Sound Patch, or 
to select sounds on an external MIDI sound generator or effects device. 

Program change transmit will differ depending on the 
play mode. 



Keyboard Patch Mode 



Link Play Mode 



The same program change data is transmitted to the Sound Patch and to externa! 
MIDI devices. 



Program change data is transmitted only to external MIDI devices. 

The Sound Patch of the same number as the keyboard patch will always be selected. 



U-20 Panel Operations 



"a □Qoonnod 



Wirt T— ! 1 f*"^ E f r- 



MIDI Data 



Keyboard Patch 

Tx Program 
Change Number 



Tx Control Ch 




Keyboard Patch 



IJUMPI -3- BANKS - 

Tx Control Ch, Tx Program Number 



Select a Parameter 

RIcursorW 



Edit..--Kybd.--MIDI 
^Tx Ctrl Ch=^ 



Pgr-i#i 



99 



3. Program Change 



Setup (Keyboard) 



BANKHJ 



iJUMPI 

Tx Program Change Switch 



Select a Parameter 

• ScursorH 



Ed i t.--Set-UP^M I D I .-■'Ky bd 



>Tx Control Ch (1—16. Set, Tx) 

This determines the channel on which program change 
data will be transmitted from a Keyboard Patch. It can 
be set independently for each Keyboard Patch. If this 
is set to Set, data will be be transmitted on the Tx setup 
ch. If this is set to Tx, data will be transmitted on the 
same channel as the Tx Ch. 

►Tx Program Change Number (1—128, P.N., Off) 

A program change number to be transmitted can be set 
independently for each Keyboard Patch. If this is set to 
P.N., the transmitted program change message will have 
the same number as the Keyboard Patch. If this is set 
to Off. program change data will not be transmitted. 

ITx Program Change Switch (Off, On) 

When you do not want a Keyboard Patch to transmit 
program change data from MIDI OUT, set this to Off. 

* When you want program change data from a Keyboard Patch 
to select the Sound Patch or Timbre, make settings for Rx 
control ch and Rx Timbre change switch of Setup (sound). 
(d- Refer to "Selecting Patches or Timbres from an external 
MIDI device", page 97.) 



100 



4. Using Controllers 



4. Using Controllers 



While playing, you can use the EXT, Ci and C2 controUers to adjust the value of 
timbre and effect parameters. 

The Keyboard Patch will convert controller movements 
into MIDI control change data. For each Sound Patch, you 
can specify three control change numbers, and specify 
the parameter to be controlled by each. 
It is also possible to use these controllers to control 
external MIDI devices, or to control Timbre and Effect 
parameters from an external MIDI device. 



■Performance Gestures! 

C1 C2 




Expression Pedal 
CEV-5, EV-10) 




MIDI Data 



MIDI IN 



Keyboard Patch 

EXT Controller 
Channel 
Control Number 

01 Controller 
Channel 
Control Number 

C2 Comroller 
Channe! 
Control Number 



T 



I T "i 

Setup (Keyboard) 




MID! OUT 



Sound Patch 

Parameter 1 
Control Number 
Parameter Select 

Parameter 2 
Control Number 
Parameter Select 

Parameter 3 
Control Number 
Parameter Select 



Parti 
Rx Volume 
Rx Pan Switch 
Rx Hold Switch 



Rhythm Part 
Rx Volume Switch 
Rx Hold Switch 



ini 



4. Using Controllers 



Keyboard Patch 



Select a Parameter 
nmf] -> BANKS -* BICURSORB 
EXT Controller (Channel, Control Number) 



Edit.---Kybdxr'1IDI 



CI Slider (Channel, Control Number) 



Edit-'-Kybd^-MIDI 
^ICl! Ch=l 



C2 Slider (Channel, Control Number) 



Edit.-'Kybd.--MIDI 






m 



m 



Setup (Keyboard) 



IJUMPI -» BANKED 
Tx Control Change Switch 



Select a Parameter 

■ acuRSOREEl 



E d i t ^- S e t u p .-- M I D I -■- K y b d 
■^i T X C o r 1 1. r o 1 C h a n 9 e = ^ 



Sound Patch 



Parameter 1 — 3 

Select a Parameter 

fJUMPl -^ bankEH -^ HcursorH 

Parameter 1 (Control Number, Parameter select) 



E d i t.. .-- S o u n d y C t r 1 



Parameter 2 (Control Number, Parameter select) 



E d i +.. -■■■■ Sou n d -■■■ Ctrl 
4Prn-i2=#! 



Parameter 3 (Control Number, Parameter select) 



E d i +-■ ■■■■' Sou n d --■' C t- r 1 



102 



4. Using Controllers 



Part 1—6 

Select a Parmeter 
fJlJMPl -^ BANKiU -^ BCURSORIE] 

Rx Volume Switch (Part Level) 



/ Select a Part ' 

HpartH 



id i t-. ■■-Sound. -■■Part 1 .--r-1 1 D I 
I R X U o 1 u fi e =WM 



Rx Pan Switch 



E d i t. y S o u n d .-- P a r 1 1 ..-- hi I D I 



Rx Hold Switch 



Ed i t..-'Sound.--Part. i .--M I D I 
•« Rx Hold=®i^ 



Rhythm Part 



Select a Parameter 



IJUMPl -^ IRHYTHMI ^ B]CURS0RB 
Rx Volume Switch (Part Level) 



Edit .-■■ b o LJ n d --' R _ P a r t 
•« R X U o 1 u Pi e ==iil 



Rx Hold Switch 



E d i t .-■■ b o u n d .■-■ R . P a r t 
^ Rx Hold=mm 



4. Using Controllers 



I Keyboard Patch Settings 

These determine the control functions of the CI and C2 
control sliders and a expression pedal connected to the 
rear panel EXT CONTROL jack. Specify functions and 
settings for each controller in the same way. 

* During editing, the C2 control slider modifies the value being 
set, and cannot be used as a controller. 

IChannel (Tx Ch, Tx Ctr! Ch) 

Select the transmit channel on which each controller will 

transmit control change data. 

Tx Ch : transmit on the note data transmit channel ("^^-page 

92) 
Tx Ctrl Ch : transmit on the program change data transmit 

channel (o-page 100) 

When controlling Timbre parameters, be sure to select 
"Tx Ch". 

When controlling Effect parameters, make sure that the 
Tx control ch of the Keyboard Patch matches the Rx 
control ch of the setup (sound), and select "Tx Ctrl Ch", 

Setting Example 



Parameter 


When Controlling 
Timbre Parameters 


When Controlling 
Effect Parameters 


Setup CSound) 


Rx Control Ch 




16 




Keyboard Patch 


Tx Ctrl Ch 




16 




EXT. CI. C2 


Ch 


Tx Ch 


Tx Ctrl Ch 



(Control Number (0—5. 7—31, 64—95, Off) 

This determines the control change number transmitted 
by each controller. When "Off is selected, no data is 
transmitted. The U-20 has the following pre-defined control 
functions. When using these, select the appropriate control 
number. 



#1 


Modulation 


#7 


Part Level 


#10 


Pan 


#64 


Hold 



104 



4. Using Controflers 



When controlling Timbre or Effect parameters, make 
settings in the Sound Patch to specify control nimibers 
for the parameters. Be sure to use control numbers other 
than the three shown above. When controlling external 
MIDI devices, remember than the control numbers that 
can be received (and the result they will have) will differ 
for each device. Consult the MIDI implementation chart 
for each device. 

I Setup (Keyboard) Settings 

►Tx Control Change Switch (Off, On) 

This determines whether or not control change data from 
the Keyboard Patch is transmitted from MIDI OUT. This 
affects not only control change data from the controllers, 
but also turns transmit On/ Off for control change data 
from the bender lever (modulation) and hold pedal. 

I Sound Patch Settings For each Soimd Patch, you can specify up to three 

parameters to be controlled by control change data. 
In addition, you can specify for each Part whether or 
not control change messages for Volume (Part Level), 
Pan, and Hold will be received. (For the Rhythm Part, 
you can specify reception for Volume and Hold.) 

►Control Number (0—5. 7—31. 64—95. Off) 

Set this to match the control number you specified for 
the Keyboard Patch. When controlling the U-20 from an 
external MIDI device, set this to match the control number 
transmitted by that device. When this not used, select 
"Off". 

iParanneter Select Select the parameter you want to control. 

When selecting Timbre parameters, make sure that the 
control change data transmit channel of the Keyboard 
Patch is the same as the Rx channel of the Part. When 
selecting Effect parameters, make sure that the control 
change data transmit channel of the Keyboard Patch is 
the same as the Rx control ch of the Setup (sound). 



105 



4. Using Controllers 



Seiactable Parameters 





Display 


Parameter 


Timbre Parameters 


Timbre Level 
EnM Rttack 
EnM Decay 
EnM Sustain 
Env Re 1 ease 
R.Bend Depth 
fl-Bend Rate 
Detune Depth 
Uib Rate 
Uib Ula reform 
Uib Depth 
Uib Delay 
Uib RiseTir-^e 
Uib ModDepth 


Timbre Level 
Env Attack Rate 
Env Decay Rate 
Env Sustain Level 
Env Release Rate 
Auto Bend Depth 
Auto Bend Rate 
Detune Depth 
Vibrato Rate 
Vibrato Wavefomi 
Vibrato Depth 
Vibrato Delay 
Vibrato Rise Time 
Vibrato Modulation Depth 


Effect Parameters 


Chrs Level 
Chrs Rate 
ChrsFeedback 
Rev Level 
D lay Feedback 


Choms Level 
Chorus Rate 
Chorus Feedback 
Reverb Level 
Delay Feedback 



»Rx Volume Switch (Part Level) (Off. On) 
Rx Pan Switch (Off, On) 
Rx Hold Switch (Off, On) 

For each Part, you can specify whether or not control 
change messages for Volume (Part Level), Pan, and Hold 
will be received. For the Rhythm Part, you can make 
settings for Volume (Part Level) and Hold. Normally 
you will leave all these On. 



Setting Example 



When using the keyboard to play Part 1, this example 
shows how you could use the EXT controller to adjust 
the part level and the CI slider to adjust the reverb 
level. 



Parameter 


Setting 


Setup 


Kybd 


Tx Setup Ch 


1 


Tx Control Change 


On 


Sound 


Rx Control Ch 


16 


Keyboard Patch 


Tx Ch 


Set CD 


Tx Ctrl Ch 


16 


EXT: 


Ch 


Tx Ch 


Ctrl# 


7 


CI : 


Ch 


Tx Ctrl Ch 


Ctrl* 


31 


Sound 
Patch 


Part 


Parti 


Rx Ch 


1 


Rx Volume 


On 


Ctri 


Prm1 


# 


31 


Parameter 


Rev Level 



106 



5. Exclusive Messages 



5. Exclusive Messages 



The U-20 can txansmit and receive Timbre and Patch settings as exclusive messages. 
This allows you to use a sequencer to store data, or to transfer data between two 
U-20s. Here we will explain the settings related to exclusive message transmit and 
receive. The actual transmit/ receive procedure is explained in "Data Transfer Using 
MIDr (crpage 143). 



iJUMPI 

Device ID 



Select a Parameter 
BANKS] -> HCURSORiEl 



Ed i t--- Set- UP --"hi I D I -■'Co mm on 
■i SysEx DekJic© lO^MM > 



Patch Dump Switch 



Ed i t-'-Set-UF-'-H I D I ■''Copir'-ion 
4 SysEx Patch OumF'-MM 



Rx System Exclusive Sw/itch 



Edi t^--Setup-^MIDlxCommon 



tDevice ID (1-— 32) 



When transferring data, the device IDs of the transmitting 
and receiving devices must match. 



•Patch Dump Switch (Off, On) 

The patch dirnip function transmits Patch data as a system 
exclusive message. When this is set "On", an exclusive 
message will be transmitted every time you press a front 
panel button to select a Keyboard Patch or Sound Patch. 

* When this is set "On", patch selection will be a bit slower due 
to the exclusive message being transmitted each time a Patch 
is selected. Normaily you will leave this "Off". 

•Rx System Exclusive Switch (Off, On) 

This determines whether or not exclusive messages will 
be received. 



107 



r. 



Local Control Switch (Off, On) 

Tills turns on/ off the MIDI connectioii between the Keyboard Patch and the Sound Patch. 
When local is "Ofr, playing the keyboard will not sound the internal sound generator, but 
note data wiE be transmitted from MIDI OUT. Incoming data from external MIDI devices will 
play the U-20 sound generator regardless of this "Local on/ ofr setting. 
Nonnally you will leave this "On". 



Setup (Common) 



JUMPH BANKRI 



Ed X t--''Set.up-''M I D I -'CofiFion 
Local C o n t. r D 1 = '^M. 



■ Tx Active Sensing Switch (Off, On) 

Active sensing is MIDI data which is transmitted from MIDI OUT for the purpose of making 
sure that the MIDI connection has not been broken. Normally you will leave this "On". 



Setup (Keyboard) 



JUMP H BANK [2]-^ CURSOR [F] (Select a Parameter) 



Edit-.-'Setup^MIDlxKybd 
< Tx flctiMe Sensiri9==l 



■ Writing Procedure for MIDI Settings 

MIDI parameters settable for each Keyboard Patch are written into memory by the Keyboard 
Patch writing operatioa MIDI parameter settable for each Sound Patch are written into memory 
by the Sound Patch writing operation. Le., these MIDI parameters are handled in the same 
way as other individual Patch parameters. 

Here we will briefly explain the procedure for writing a Keyboard Patch into memory. The 
procedure is the same for Sound Patches. 

From the Keyboard Patch (Sound Patch) edit display, jump to the write display. 



©jJUMP -* ENTER 



Data-'HOrite-^Kybd 

Temp: 111 ■* I 1 1 



@ ENTER 



Da+..a.--Urit.e.-^Kybd 
Sure? CUflLUEA] 



[EXIT] 



I If you are sure you want to 
write the data into memory. 



press VALUE A 



To cancel the operation, press 



Data-^'Wr it-e^'Kybd 

Funct-ion Cor^tpl et-e - 



EXIT 



*MID! parameters in Setup do not need to be written into memory. The edited value is 

remembered. 
♦ Details of the writing procedure are explained in "Data Mode Operations" (o-page 128). 



108 



I MIDI Settings of Factory Settings 



MIDI Settings of Factory Settings 



Parameter Group 



Parameter 



Setting 



Setup 


Common 


Local Control 


On 


SysEx Device ID 


17 


SysEx Patch Dump 


Off 


Rx SysEx 


Off 


Kybd 


Rx Control Ch 


Off 


Tx Setup Ch 


1 


Tx Control Change 


On 


Tx Program Change 


On 


Tx Ch Aftertouch 


On 


Tx Active Sensing 


On 


Sound 


Rx Control Ch 


16 


Rx Timbre Change 


Off 



Keyboard Patch 


Tx Ch 


Set 


Tx Arpeggio Ch 


Tx 


Tx Control Ch 


Tx 


Tx Program Change # 


P.N 


EXT 


Ch 


Tx Ch 


Ctrl # 


Off 


CI 


Ch 


Tx Ch 


Ctrl # 


Off 


02 


Ch 


Tx Ch 


Ctrl # 


Off 



Sound 
Patch 


Part 


1 


Rx Ch 


1 


Key Range 


C-1-G9 


Velocity Range 


1-127 


2—6 


Rx Ch 


Off 


apart 


Rx Ch 


10 


Ctrl 


Prmi 


Ctrl # 


Off 


Parameter 


Timbre Level 


Prm2 


Ctrl # 


Off 


Parameter 


Timbre Level 


Prm3 


Ctri # 


Off 


Parameter 


Timbre Level 



* The values of parameters w/hich can be set for each Part in 
a Sound Patch (Rx channel, etc.) will differ for each Sound 
Patch. This table shows the setting values for Sound Patch 
1-1 1 : Acoust Piano. 



109 



TAKING FULL ADVANTAGE OF THE U-20 



Here we will explain some ways in which MIDI can help you take full advantage 
of the three play modes that use Patches (Link Play mode, Keyboard Patch mode, 
Sound Patch mode). 

Functions in each play mode are as follows. Use the mode 
most appropriate for your musical situation. 



Play mode 


Part played from 
the keyboard 


Selected by 
INT/A. CARD/B. 
BANK. NUMBER 


How program change 
data transmitted 

from the Keyboard 
Patch is handled 


Musical data received 
at MIDI IN 


Link Play mode 


Parts with a Rx 
channel that matches 
the Tx ch of the 
Keyboard Patch 


Keyboard Patch and 
Sound Patch 


Transmitted from 
MID! OUT 


Received as a multi- 
timbral sound 
generator 


Keyboard Patch 
mode 


Keyboard Patch 


Transmitted to the 
Sound Patch which 
transmits from MIDI 
OUT 


Sound Patch mode 


Sound Patch 


Not transmitted 



1. Using the U-20 by itself 



The U-20 can be connected with various MIDI devices and used in many different 
ways, but MIDI provides many possibilities even when using the U-20 by itself. Here 
we will explain some examples of creative ways to use a single U-20. 



Link Play Mode 



When using the U-20 by itself, Link Play mode is 
especially convenient. 

In Link Play mode, panel buttons will select Keyboard 
Patches and Sound Patches together. If you set up a Sound 
Patch for each Keyboard Patch, the keyboard settings will 
always be appropriate for the sound you are playing. Or, 
you can use program change data transmitted from the 
Keyboard Patch to select memories on an external MIDI 
Soimd generator or effects device. 



no 



1. Using the U-20 by ttseif 



Combining Parts 



Set the channel and key range for each Part, and try 
out various combinations of Parts. 



(Basic Setting : use only Part 1 



Keyboard Patch 
Tx Ch"Sot 



I 



Part 1 
Rx Ch-l 



Sound Patch 



. Setup (Keyboard) 
. Tx Setup Ch - 1 



Parameter Group 


Parameter 


Setting 


Setup 


Kybd 


Tx Setup Ch 


1 


Keyboard Patch 


Tx Ch 


Set 


Tx Arp Ch 


Tx 


Sound Patch 


Part 


1 


Rx Ch 


1 



tPlay two Timbres at once 



Keyboard Patch 
Tx Ch - Sat 



T 

:Ke^ 
up 



, Setup (Keyboard) 
Tx Setup Ch - 1 





*■ 




V 






Part i 

Rx Ch = 1 




Part 2 
Rx Ch"l 


... 




Sounc 




Patch 





Parameter Group 


Parameter 


Setting 




Setup 


Kybd 


Tx Setup Ch 


1 




Keyboard Patch 


Tx Ch 


Set 




Tx Arp Ch 


Tx 




Sound Patch 


Part 


1 


Rx Ch 


1 


< 


2 


Rx Ch 


1 


< 



►Key Split : play two different Parts split around the C4 key 



Keyboard Patch 
Tx Ch^-Set 



I 



I Setup (Keyboard) . 
I Tx Setup Ch = 1 . 



Part 1 

Rx Ch- 1 

Kay Range - C-1 —B3 



Part 2 

Rx Ch-1 

Key Range "'C4—Q9 



Sound Patch 



Parameter Group 


Parameter 


Setting 




Setup 


Kybd 


Tx Setup Ch 


1 




Keyboard Patch 


Tx Ch 


Set 




Tx Arp Ch 


Tx 




Sound Patch 


Part 


1 


Rx Ch 


1 




Key Range 


C-1 ~ B3 


< 


2 


Rx Ch 


1 




Key Range 


C4-G9 


< 



111 



1. Using the U-20 by itseif 



^Velocity Switch : switch Parts by playing dynamics 
(softly played notes play part 1, strongly played notes play part 2) 



Koyboard Patch 
Tx Ch-Sat 



, Setus (Ke^oard) , 
Tx Setup Ch - 1 



Part t 
Rx Ch-1 

Volo Range"" 1— 9B 



Part 2 

Rx Ch-1 
VeloRangB-100-127 



Sound Patch 



Parameter Group 


Parameter 


Setting 


Setup 


Kybd 


Tx Setup Ch 


1 


Keyboard Patch 


Tx Ch 


Set 


Tx Arp Ch 


Tx 


Sound Patch 


Part 


1 


Rx Ch 


1 


Velo Range 


1-99 


2 


Rx Ch 


1 


Velo Range 


100-127 



^Arpeggio Play : changing the arpeggio Part 
(Arpeggiated notes use part 2) 



Keyboard Patch 
Tx Ch - Sat Tx Arp Ch - Z 



r 



zi. 



Setup (Keyboard] 



. Tx Setup Ch - 1 



I 



Port 1 
Rx Ch-1 



Part 2 
RxCh-2 



Sound Patch 



Parameter Group 


Parameter 


Setting 


Setup 


Kybd 


Tx Setup Ch 


1 


Kdyboard Patch 


Tx Ch 


Set 


Tx Arp Ch 


2 


Sound Patch 


Part 


1 


Rx Ch 


1 


2 


Rx Ch 


2 



112 



2. Using a Sequencer 



2. Using a Sequencer 



Here's how to use the U-20's keyboard to record data into a sequencer, and playback 
the recorded sequence data to play the U-20's sound generator. 

•Connections and Settings Connect the U-20 and the sequencer as shown. 

Set the soft THRU of the sequencer "On", and the U-20 
to "Local off". If the sequencer has no soft THRU function, 
set the U-20 to "Local on". 



Sequencer 



rrrp O 

0=3 CO 



MIDI IN 
MIDI OUT 



Soft THRU on 



MIDI OUT 
MIDI IN 



■ Local off 




^Recording 



U-20 

* The "soft thru" function of a sequencer allows data received 
at MIDI IN to be re-transmitted from MIDI OUT. 

Keeping in mind the Rx channel and sound you will use 
for each part, create several Keyboard Patches for use 
when recording. Record each part separately into the 
sequencer. You can also use the Arpeggio play and Chord 
play functions. 



Example: a Keyboard Patch for recording part 1 (Rx Ch = 1) 



Ksyboard Patch 

! - n Tx Ch - 1 


Kavboord Patch 
1-12 Tx Ch-2 


... 


F' 




MIDI OUT 
Sequencer 


-- 


_- 






Musical Data 
of Part 1 

ICh 


Musical Data 

of Part 2 

2Ch 


... 




L-_ 


— ~ 


MIDI IN y/^ 


_ J 










y 














Part 1 

Rx Ch-I 




Part 2 
Rx Ch-2 


... 


Part 6 
Rx Ch-B 




ffliythn Part 
RxCh-IO 










Sou 


nd 


Pe 


tch 









Parameter Group 


Parameter 


Setting 


Keyboard Patch 


Tx Ch 


1 


Tx Ctrl Ch 


Tx 


EXT: 


Ch 


Tx Ch 


Ctrl # 


07 


CI : 


Ch 


Tx Ch 


Ctrl # 


10 



By recording program change data (patch changes) and 
control change data (produced by the lever, slider and 
pedal controllers) in addition to musical data from the 
keyboard, you can add musical expressiveness to your 
recording. 



110 



2. Using a Sequencer 



•Sequencer Playback 



Now let's playback the data you recorded into the 
sequencer, to make the U-20 produce sound. If you will 
be playing back sequence data that you originally recorded 
using another synthesizer or sound generator, make sure 
that the U - 20 ' s Timbre and Rhythm settings are 
appropriate for the sequence data. 
If you want to play the keyboard during sequence 
playback, make Keyboard Patch settings to select a Part 
that will not be used by the sequencer. 



* The U-20 always responds to data received at its MIDI IN In 
the same way, regardless of the play mode (except for ROM 
Play mode). 



Setting example : Sound Patch MIDI settings when using 6 Parts and the Rhythm Part 



Kevfaoard Patch 
Tx Oh - 1 



I Musical Dats TranamittBd from the , 
[ saouencor ZCh, 3Ch-BCh, IDCh j 



Part \ 
Rx Ch-1 



MIDI IN 



Part 2 
Rx Ch-2 



Part 6 

Rx Ch"6 



Rhythm Pert 
Rx Ch-10 



Sound Patch 



Parameter Group 


Parameter 


Setting 


Sound Patch 


Part 


1 


Rx Ch 


1 


2 


Rx Ch 


2 


3 


Rx Ch 


3 


4 


Rx Ch 


4 


5 


Rx Ch 


5 


6 


Rx Ch 


6 


apart 


Rx Ch 


10 



kUsing Exclusive Messages 



You can use the U-20's Patch dump fimction to transmit 
the data for the selected Patch as an exclusive message 
from MIDI OUT. This data can be recorded into a 
sequencer along with the musical data (notes, etc.). When 
the recorded sequence data is played back, the data for 
the Patch will be transmitted along with the musical data 
(notes, etc.), meaning that the music will be played with 
the exact soxmd (U-20 Patch) that was used to record 
it. In other words, the sequencer can be used to set up 
sounds as well as control them. 

It is also possible to use the bulk dump fimction to 
transmit the entire contents of the U-20's memory to a 
sequencer for storage. This is explained in "Data Transfer 
Using MIDr (D-page 143). 



114 



I Velocity Of^t Sensitivity 



■ About Sequencer 

A sequencer is a device uses MIDI to record and play back music. Sequencers can record 
(store) many types of MIDI data. Unlike tape recorders which record the "sotmd" of an 
instrument sequencer records a musical performance as change the instrumentation or speed 
of a musical performance recorded as MIDI data Fiirthermore, sequence recording gives you 
many editing possibilities, such as allowing you to correct individual notes of the recorded 
data. 



■ Velocity Offset and Sensitivity 

Each Keyboard Patch includes a setting that allows you to limit the velocity produced by 
the keyboard. For example when using the U-20 keyboard to record a bass part, this function 
can be used to keep the velocity consistent, resulting in a smoother performance. 



(D l EDIT 1 —RlcURSOR FH (Select Kybd) 



Edit I Setup I ^^^ 

Chord! Sound! Timbre! Rythm 



ENTER H CURSOR [^ (Select Perform) 



Edit.--Kybd 
Nanei MIDI! 



ENTER I — ■< CURSOR (Select Velo) 



Edit ^^ K y b d .-' Per f o r n 
^WBMl Trans! Chord! flr-pe 



ENTER ! -^ RTJCURSOR [►I (Select the offset or aenaitivrty value) 



Ed i t.--'Kybd-^Perf orfi^'Ue 1 o 
Of f set= i S©ns=126 



Offset Sensitivity 

U8e[v]VALUE[Z]or the VALUE slider to modify the value. 



3 ffi ' 

=* E 




^^ 


\ 




a> 


^^^^^^ 


\ Sensitivity 




t= 


.^'^'''''^^ 


_/_ 


















Offset 

















the force (speed) with whitch you play a key 

* Normally you will leave this set at offset: 1, sensitivity: 126. 

♦ Velocity offset and sensitivity can be set independently for each keyboard patch. 



1 iR 



3. Using External Sound Generators 



3. Using External Sound Generators 



Connecting external synthesizers or sound generators such as the D-110 will provide 
even greater possibilities. 



MIDI 
OUT 



■MiiMM 



U-20 



MIDI 
IN 



MIDI 
THRU 



MIDI 
IN 



D-110 



P-330 



Set the each receive channel of the external sound 

generators by confurming the Rx channels of all U-20 

parts. 

In Link Play mode, program change data transmitted from 

the Keyboard Patch can be used to select memories on 

external Soimd generators whenever a Sound Patch is 

selected. 



Setting example : Layering the U-20's Parts 1 and 2 with the D-llO's Part 1 



U-20 

Link Play Mode Setup Ch " I 



Key board Patch 
Tx Ch - 1 — 




Sound Patch 



D-110 



Part 1 
Rx Ch=-} 



U-20 



Parameter Group 


Parameter 


Setting 


Setup 


Kybd 


Tx Setup Ch 


1 


Tx Control Change 


On 


Keyboard Patch 


Tx Ch 


Set 


Tx Ctrl Ch 


Tx 


Pgm# 


** * 


Sound Patch 


Part 


1 


Rx Ch 


1 


2 


Rx Ch 


1 



D-110 



Parameter Group 


Parameter 


Setting 


Parti 


Rx Ch 


1 



* Different devices may interpret incoming MID! data in different 
ways. Refer to the MIDI implementation chart for each device. 



116 



3. Using External Sound Generators 



■ Voice Reserve 

The voice reserve parameter is effective when using the U-20 as a multi-timbral sound generator. 
The U-20 can simultaneously play up to 30 voices. Until the total number of sounding parts 
reaches 30 voices, each Part can sound as many notes as necessary. When the number exceeds 
30 voices, the oldest notes will be turned off, meaning that the sound may break off unnaturally. 
Voice reserve allows you to specify a minimum number of voices that will be reserved for 
each Part, so that even when the limit of maximum simultaneous voices is exceeded, musically 
important Parts will not be unnaturally cut off. 

Voice reserve can be set independently for each Part It is not possible to make voice reserve 
settings that would result in a total of more than 30 voices for all Parts. While you make 
this setting, be aware of the remaining nimiber of unreserved voices. For unused Parts, set 
the voice reserve nimiber to 0. 

As shown below, get the voice reserve display and use [5]VALUE[a] or the VALUE shder 
to edit the settings. 



Parts 1—6 



JUMP H NUMBER [gl 



SpartH 

T 



Ed i t---Sound.--Part 1 /U , Rsy 
Uoice Res©r-Me=ll C30II 



r 



Remaining number of unreserved voices 
Number of voices to reserve 



Rhythm Part |JUMP| -> [RHrfF?Ml -^R1cURS0R[»ncSBlBct the parameter) 



E d i t .■■■■ S o u n d --• R , P a r t 

■i Uoice Reserve=Si C38 3 |i^ 



Remaining number of unreserved voices 
Number of voices to reserve 

* Edited settings are temporary. If you want to keep your edited settipgs, use the Sound 
Patch writing procedure to store them into memory. 



1 IT 



MEMO 



118 



SECTION IV 



SUMMARY 



W.J «^ 



■ ^ *' I 

\ ' - ' 



■ I*""- *■ I ■ 







^f^i •«•*;*-. ^5f" 



11 PLA 1 MC DE UPE^ A < C N: 

/ND F-uNrrnN'. 









1 ' 



%^ 



, "., — . --4 



M ""*iT K'^'l> "F-i-.TI N. 



■ -i 

ft.r 



M L-ATA Ml Lb .IcF ATI \ 



U' 



.. ?. 



■-■ ,ri. ■ "^i 



1 ■ 



r 

■ 51 



* T > 



llPLAY MODE OPERATIONS AND FUNCTIONS 



Here we will explain the functions and operations of the Play modes. 



a. Playing functions 

Playing functions are as follows. 



■ Keyboard Touch 
•Velocity 

•Channel Aftertouch 

■ Control Panel 
•VOLUME Slider 
•C1/C2 Sliders 



•Bender/ Moduletion Lever 



The force (velocity) with which you play a key can 
control volume. Timbre settings will determine the effect 
of Velocity. 

By pressing down on a key after playing it, you can 
control pitch, vibrato and voltime. Timbre settings will 
determine the effect of Aftertouch. 



This sHder adjusts the volume output from the MIX OXJT 

jacks and the PHONES jack. 

These sliders can control Timbre and Effect parameters 

of a Sound Patch. Since Control Change data is transmitted 

from MIDI OUT, you can also control external MIDI 

devices. 

In the Keyboard Patch, set the Control Change number ; 

and in the Sound Patch, set the Timbre and Effect 

parameters to be controlled. 

This lever is used to Pitch Bend (up/down) and to add 
Vibrato. Timbre settings will determine the effect of this 
Bender/Modulation lever. 



Pedal Controls 



IHOLD Jack 



•EXT CONTROL Jack 



A pedal switch (DP-2, DP-6, optional) can be connected 

to control Hold. 

An expression pedal (EV-5, EV-10, optional) can be 

connected to function in the same way as the 01 /C2 

sUders. 



120 



DPLAY MODE OPERATIONS AND FUNCTIONS 



Performance Functions (turned on/ off from the panel while playing) 



^Key Transpose 
►Chord Play 

tArpeggio Play 

I MIDI 
»MIDI IN 

►MIDI OUT 

»MIDI THRU 



This ftinction shifts the range of the keyboard. The Key- 
Transpose setting is part of the Keyboard Patch. 
This function allows you to play chords by pressing a 
single note. A different chord can be assigned to each 
note C, C#,— B. From 8 previously created Chord Sets, 
you can select 2 for use in a Keyboard Patch. 
This function arpeggiates the keys you hold. Arpeggio 
Type and Rate settings are part of the Keyboard Patch. 



This connector receives MEDI data from MIDI devices such 
as sequencers. The U-20 will function as a multi-timbral 
sound generator in any Play mode (except for ROM Play). 
This connector transmits MIDI data. In Part Play mode, 
Rhythm Play mode, and ROM Play mode, MIDI data is 
not transmitted. 

This connector re-transmits the MIDI data received at 
MIDI IN» without changing it in any way. This allows 
you to transmit the same data to several devices. 



Program Changes Transmitted from a Keyboard Patch 

For each keyboard patch, you can specify a program 
change number to be transmitted. When you select a 
keyboard patch from the front panel, this program change 
number will be transmitted from MIDI OUT. 
In keyboard patch mode, this program change data can 
also select sound patches or timbres. 



Patch Dump 



The patch dump function allows you to transmit patch 
data as an exclusive message from MIDI OUT. If you select 
a patch while the patch dump switch (setup) is on, the 
data for the selected patch will be transmitted. (c-For 
details, refer to page 146, "Patch Dump".) 



121 



I PLAY MODE OPERATIONS AND FUNCTIONS 



b The three Play modes that use Patches 

Here we will explain the operations and displays for Link Play mode, Keyboard 
Patch mode, and Sotmd Patch mode. 



■ Panel Operations 

Select Play modes 



r 



To Edit mode 
To Data mode 



' 1" ' '"'»""■'"' CUnCR VMJE 

C^C^C^CZD [ZI3CI] r~ir~nr^r^ 



Performance Functions 
Key Transpose 
Chord Piay 
Arpeggio Play 



Select Patches 

(step through patches in sequence) 

Normal Display -*SutKJisplay 

Sub Display-^ Normal Display 



Select Patches- 
RAM Card Patches 

Select Bank 

L_ 



r 



C*«VB 1 ! 3 < t E 7 E 

CD 1IZ1CZ3IZI1I II 111=3 CDCn 



l=D p=ll=ll=ll=3iID[II]IZZIC=] 

^e — ^ 

Select Number 
Intemal Patches 



I Displays 

^Normal Displays (common to link piay mode, keyboard patch mode, and sound 
patch mode) 



Keyboard Patch- 
Sound Patch — 



I "11 #001 
I -11 #001 



£ +- a n d a r d 
ficoust. P i ano 



(Keyboard Patch mode Sub-display 



Keyboard Patch name 

L_ 



I~l 1 #001 s Standard 
Tx Ch = 01 Pli:01 CS01 #801 



Tx Ch— t 
Tx Anaeggio Ch 



13 



■Tx Program Change Number 
-Tx Control Ch 



#Sound Patch mode Sub-display 



Rx Channel of each Part 



1 2 3 

■ 


1 

4 5 6 Rhythm 

■ 


Rxl /■ 1 /■ 1 03 
I-l 1 #001 : 


1 g 4 M: >H 1 >F: -4: 1 1 

Rc-Qust. Pi ario 



Sound Patch Name 



>H>»<B indicates that the Rx 

channel of the pen is Off 
I " indicaiea that the part ia 
soundins 



122 



a PLAY MODE OPERATIONS AND FUNCTIONS 



In part play mode and rhythm play mode you can play the part selected from the 
front panel, regardless of the Tx channel of the keyboard patch, hi these play modes, 
your playing will not be transmitted from MIDI OUT as data. 



Panel Operations in Part Play mode 



Select Play modes 



To Edit mode 
To Data mode 



f—ir^ 



Select Parts 



c DCTDFzir i p n I IC I3 e n rm I ii i 

LM: km ftAT CtltKfi VAUC 

' ] ' ^ 

Select Timbres 



Perfomiance Functions 



Part 

J_ 



(step through timbres in sequence) 



Output Assign 



Voice Reserve 



Timbre- 



Pan 

J_ 



Par-tl 0: Reu Ps >< Us0 
I-fill #00isfi. Piano 2 



Select TimbreS" 

B Group Timbres 

Select Bank 

L_ 



C 

canvB 



nn nnn=^cz}cn\ — iiziiEiziim 



w/t I I a I 5 i 1 

,— , 1 1, II ;| 11 ,1 1 



g 



Select Number 
A Group Timbres 



■ Panel Operations in Rhythm Play mode 

Select Play modes 

To Edit mode 



. r 



To Data mode 



cziiiZ] r^r^ i 11 I 



MM PVAY CUQCF ViUE 

T TUHSWMPOP 1 man ; nwtaHO wmk juw ^ ^ g a 



Performance Functions 



Select Rhythm Set 

(step through rhythm set in sequence) 



OIHD/B 1 2 3 t t 5 7 t 

1=3 Ezmziiiz]! 11 icziniiiz::] 



nn ^cn djuui ii icziczi 

Select . Rhythm Set 



Rhythm Set 



Voice Reserve 

L_ 



I-Rl! standard Set Use 
C:2 ! 1-128 So!C2 MusOff 

r 



Key Pressed Tone Source Key 



Mute 



123 



Bedit mode operations 



The U-20's many parameters allow you to control the sound in various ways. To modify 
these parameters, you must enter edit mode. Here we will explain the various operations 
of edit mode, and also explain how the jump function can help you to edit more 
efficiently. 



1. Edit Procedure 



The many parameters in edit mode are organized into groups. Each group is organized 
as a many-branched tree. 

There are two types of display in edit mode ; menu displays that allow you to 
select the parameter group, and parameter displays that allow you to modify parameter 
values. Select the parameter group for the parameter you want to edit, and get the 
parameter display. Next, select the parameter to edit, and modify the value. 



[ ] Menu Display 
® Parameter Display 




Fim 



Edit Mode 



tras 

j iEMTEftl 



BJcursorB 




[ Setup ] [Keyboard Patch] [ Chord Set ] [ Sound Patch ] [ Timbre ] [ Rhythm Setup ] 




O'^i'^ss I EDIT 1 to enter edit mode (the menu display appears). 

(D Use [^CURSOR [^ to move the cursor (blinking) to the parameter group you want to edit. 



(D Press I ENTER [ , and you will move to the first level (one level below) of the selected parameter 

group. 
® Repeat steps © and (D until you reach the parameter display. 

©Use [^CURSOR [►n to move the cursor (blinking) to the parameter value you want to edit 
©Use [V] VALUE [a] or the VALUE slider to modify the value. 



©Press EXIT to return to the previous upper level. 



The upper Una of the display will tell you which parameter group 
you are now in. 



E d i t --• S e t u p .-■■ h I D I -•■•■ C o n pi o n 
Loca 1 Cont.ro 1 = 0n 



* To move from edit mode to play mode, simply press a play 
mode select button. 



124 



2. The Jump Function 



2. The Jump Function 



The Jirnip function lets you to edit more efficiently, by allowing you to jump directly 
to a desired display instead of working your way through the tree structure. Some 
jump destinations are factory-defined presets, and you can define others to meet 
your own needs. (The jimip function cannot be used in ROM Play mode.) 



Jump Procedure 



The Jxmip fimction assigns a jump destination to each 



of the U-20's buttons. Press I JUMP I , and then press the 
button to which the desired destination has been assigned. 



* If after pressing {JUMP I you decide not to jump, press j JUMP I 
once again. 



Defining Jump Destinations (Marie Page) 

You can assign any jump destination to each of the BANK 
8] and NUMBER H]— [f] buttons, using the following 



procedure. 

(DFirst select the display for the desired jump destination. The position of the cursor (blinking) will 
also be remembered. 

Example : define the master tune display as a jump destination 



Edi t.---'bet.up.'-M . Tune 

M a s t. e r T u n e = MlPPif H z 



(DPress MARK I. 



Edi t^SetuF----M. Tune 
Marks Select Switch 



(DPress the button (BANK [T]— [f]. NUMBER [33~|8]) that will be used to jump to thet display. 



Edi tx'Setup-^M, Tune 
Mark: Page Memorized, 



* To return to the factory settings, press JUMP -*• MARK 



(c»- Refer to page 24, "Editing Procedure using the Jump 
function".) 



lOK 



2. The Jump Function 



(Preset Jumps 



The following jump destinations have been pre-defined 
for the following keys. 







Name a Keyboard Patch 






Edit--'' K y b d .■■• N a ni e 

P -a t. G h H a m e = * * ^= * * * * * * * * * 




iJUMfl^iKeVfioARDt 




Name a Sound Patch 






E d i t. '-^ S o u n d -^ N a n e 

P a t. G h H a n e = * ■■+= * * * * h-: * * * * * 




iJUMPl-ISoUNDl 




Select a Timbre for Parts 1 —6 






Edit. .-■■* Sound y P a r t. * .-- T i r-! b r e 
T i R b r e = l^ffi = =+= ■^- * =+= * * :+: * * ■■+= * ■■*-■ 




IJUMPl-!l»AfiTI 




Select a Rhythm Set for the Rhythm Part 






Ed i t-.-^Sourid.'-R - Part 




J JUMP i-l RHYTHM 1 






Set the Key Transpose 






E d i t. .-"' K y b d -■■■" F" e r f o r fi .-" T r -a n s 
Key T r a n s p o s e = MMM 




IJUMfl-IThANst'OSEI 




Select a Chord Set (Chord 1) 






Ed it.>^Kybd--'Perf'orpi .-'Chord i 

Chord = #^: ^t:^f:^t^:^^<^^:**^f:^^:M^** ^ 




IJUMPI-icHoRdll 




Select a Chord Set (Chord 2) 






Ed i t.^'Kybd--'Perf orpi---Chord2 

Chord==#l|: *:^:^f:^^:^^:*^^:^^:^l■:*:■H:+: ^ 




iJUMPI— ICHORDZi 


Make Arpeggio Settings 






Edit .-■■ K y b d .■■- P e r f o r r-i ■■■■■ fi r p e 




IJUMPI-IARPEGGIOi 




The edit mode display where you last were 
The data mode display where you last were 


iJUMPi-H.i£Diri 

IJUMpI-IDATAI 






RAM Card Save/ Load 






D a t a ■-'■ S a "..J e ~ L o a d 

W^ I n t * * C -a r d 




IJUmpI-I^ITI 




Write the parameter group you are currently editing 




IJUMPI-*! ENTER 1 




D a t a ■'■" Ul rite .■■- ^= + * * 

m«lS T e P-I F- : =+= * * ■» :+: =+: H-: 






* You can jump hare only from edit mode, but not when Bditins a sotuc 
paramster which does not need to be written into memory. 




[JUMPt-*|-<|PART 


Back up through the previously selected displays 
(up to 32 displays) 

After backing up, advance one display. 


IJUMpI-PART|»^I 




Move to the next oarameter arouD 


IjUMpI-^micursor 








(same effect aslE)<ltl-NICURSOR-*!ENTER!) 
Move to the next parameter group 




IJUMPi-*CURSORI^I 




(same effect as lEXItl-* CURSOR!*- HI ENTER!) 





126 



2. The Jump Function 



(User-definable Jumps With the factory settings, jump destinations are assigned 

to these buttons as follows. 





mmm 








E d i t. .-■• b e t- u p ^■■' ril D I y' C o m n o n 
Local Con^r-ol=WM > 




|jUMPi-*BANKlil 










Ed i t.--'SetuF-.-'ri I D I ''"Kybd 

Rx Control Ch=l^ K^ 




|JUMP!-*BANKl2j 










Edit^Setup.-'MIDI^Sound 

Rx Control Ch=^l^ !► 




IJUMPt-BANKlU 










Edit.-'Kybd'-'riIDI 

Tx Ch=i^lffi Tx f\r-p- Ch^^-^^-> 




IJUMPl->BANKi4l 










Edit.--Sound^^Part*.--MIDI 

Rx ch^mm ^ 




IJUMP|->BANK|SI 










E d i t ■-■' S o u n d ■■■■' C t r 1 




IJUMPl^BANKlSl 










Edi t^'Sound-'-Eff ect.--Chorus 




IJUMpI-*BANK!7I 










Edi t^"SoL4nd.-''Ef f ect.-"Re'v'erb 




iJUMPI-BANKlSj 


















Ed i t.-^T i p^br e C * 3 .■■■Hame 

T i nbre Ha^•■!l=•==^■H■:*^f:^^:H'■^f:*:•H^^::+:^H 




LJUMPJ-* NUMBER LU 










Edi t^Tip^breCHO.■'Toni=■ 
Tone = *— iiHIS *^^:^^!**ff:^f:^t!:^■::^■: 




iJUMPI^NUMBERI2l 










Ed i t.--T i pibr e C * 1 /Leue 1 
Level =S^K Uelo Sens=:*H^ ^ 




yUMPj-* NUMBER l3j 










Edi t-'-T i Rbr e C ■+ 3 •■■■■? itch 
Coarse=ME Fine=*=+: k 




JJUMPl-»NUMBERl4i 










Ed i t.--*T i PibreC*] --^Ui brato 
R a t e = MM. W a m e f o r n = ^- ■■*■ * 1^ 




IJUMPi->NUMBERI5i 










Edit -■■■■ S o u n d .-' P a r t * --" U , R s u 
U o i c e R e £ e r u e =W t * :+= 3 




IJUMPI-*-NUMBERI6l 










Edi t.---Sound-"Part*-^Output 
f\sSn"MMM LMl=**^f: pan = =-i^=+: 




IJUMPl-*NUMBER|y| 










Ed i t^'Setup^'M _ Tune 




ijumpi-^numberIsi 


^^ 




__ 



127 



0DATA MODE OPERATIONS 



Data mode is where you store edited settings and manage data. It includes Write 
functions that store your edited patch and timbre settings, Save/Load fimctions for 
RAM cards, and MIDI Dump functions. 



* The "data" handled in Data mode consists of the setting values 
of the various parameters. 



1. Using a RAM Card 



Here we will explain how to use a RAM card, and the preparations necessary before 
using a newly piirchased RAM card. Be sure to read this section before using a 
RAM card. (The Jump function caimot be used in ROM Play mode.) 



»What is a RAM Card? 



A RAM card is a memory card which can be read and 
written. Data on a RAM card can be modified as many 
times as you want. A RAM card can be used to store 
edited patch and timbre data. The U-20 uses M-256E 
memory cards (sold separately). 



* RAM cards contain a batteiv to preserve the data. Before using 
a RAM card, be sure to install the battery as explained in the 
instructions for the RAM carei. 



Mnserting a RAM Card 



RAM CARD 



Insert a RAM card into the RAM card slot in the rear 
panel. Be sure that the RAM card is oriented correctly, 
and press it firmly into the slot. 

* Never insert a RAM card into the PCM card slot. Leaving it 
Inserted will cause malfunction. 

* The sound may momentarily stop if you remove or insert a 
RAM card while playing, but this is not a malfunction. 



»RAM Card Protect Switch 

RAM cards have a Protect switch to ensure that the data 
in the RAM card is not accidentally erased. Normally you 
will leave this On. When storing data, switch protect On/ 
Off with the card inserted the RAM card slot. 





128 



1. Using a RAM Card 



Initializing a RAM Card 

Before you use a newly purchased RAM card, you must 
Initialize (format) it to accept U-20 data. When you 
initialize a RAM card, all of the U-20's internal data will 
be copied into the RAM card. 

* This operation must also be performed for a RAM card which 
you have previously used for a device other than the U-20. 



CDlnsert the new RAM card into the RAM card slot, an d the fo llowing message will appear. 
Set the RAM card Protect switch to OFF, and press 1 ENTER I. 



It="s a New RRM Card- 
Initialize it? CEHTER] 



(DPress ENTER once again, and the card will be initialized. 



It='£ a Hew RRM Card, 
Funct i on Cor^p 1 ete . 



AVhen RAM card initialization is complete, you will return to the previous display. 



I Using a RAM Card while Playing 

tSelecting RAM Card Patches (Keyboard Patches, Sound Patches) 

To select RAM card Patches, press |CARD/B| , and then select 
a patch using BANK [ll~|l] and NUMBER []]— H]. As 



when selecting internal patches, the patch or timbre will 
change to the RAM card selection when you specify 
NUMBER. 



•Selecting RAM Card Timbres 

To select RAM card Timbres, you must first select a RAM 
card sound patch. RAM card timbres caimot be selected 
for an internal sound patch. Internal timbres cannot be 
selected for a RAM card sound patch. 
In the same way, when using RAM card chord sets and 
rhythm sets, you must select RAM card keyboard patches 
or sound patches. 

* RAM card keyboard patches and sound patches cannot use 
internal chord sets, timbres, or rhythm sets. 

* Even if a RAM card patch is selected, internal setup settings 
will be used. To use RAM card setup settings, you must first 
load them into internal memory ("^-Refer to page 142, "Saving/ 
Loading Data".). 



129 



1. Using a RAM Card 



■ Error Messages 

If an error or other unexpected condition occurs while using a RAM card, one of the following 
messages will appear. Take the indicated action to correct the problem. 



Illegal PCM Card! 
Please? t-ake it- out- 



Problem : A RAM card is mistakenly ioserted into the PCM card slot. 
Action : Immediately remove the RAM card from the PCM card slot. 



Dat-a--"***** 
RAM Card Protected. 



Problem : Since the RAM card protect switch is ON, data cannot be written. 
Action : Turn the RAM card protect switch OFF, and try again. 



Dat.a.■■'H■:^^:^^:*^^: 

Card Hot Ready, 



Problem : The RAM card is not correctly inserted into the RAM card slot. 
Action : Check that the RAM card is correctly inserted all the way. 



Jt: ^^: -^ ^^: * :^^ * -^i :+: M-: M< * H: :+: * :+: * * * :+: :+: * * * 

R R M C a r- d U e r i f y E r r o r ! 



Problem : When you tried to write or save RAM card data, the data was 
incorrectly stored. 

Action : The RAM card is not correctly inserted into the RAM card slot Re- 
insert the RAM card, and try the operation again. 



It's a New RRM Card- 
Initialize i t ? I ENTER 1 



Problem : This message will be displayed if a new RAM card is inserted, or 
if the card has been used by another device, or if the card is an 
incorrect type. 

Action : Remove the card. 



+ ^^: H: -4-, tf: :+: * * * 4-- * =+: * :+: :+: :+: :+: :+: * >H :+= =+= H-: * 

ROM Card Battery Low! 



Problem : The battery in the RAM card is low. 
Action : Change the RAM card battery. 



130 



2. Write Operations 



2. Write Operations 



The various Write operations are used to store edited settings by parameter group 
into internal or RAM card memory. To make data management easier, Exchange and 
Copy operations are also provided. 

#Parameter groups for writing 

The following groups of parameters can be written 
independently into memory. 



Display 


Parameter Group 


Number of 


Number of RAM 






Interna! Memories 


Card Memories 


Kybd 


Keyboard Patches 


64(111—188) 


64CC1 1 -CBS) 


Chord 


Chord Sets 


8(11— 18) 


8(C1 — C8) 


SrDund 


Sound Patches 


64011—188) 


64(C1 1 — C8B) 


T i r-ibre 


Timbres 


128((A11— IA88 


12B(CA11— CABS, 






IB11— IB88) 


CB1 1 — CB8B) 


Rhyt-hn 


Rhythm Sets 


4(11 —14) 


4(C1 — C4} 



* There is no need to write setup settings into memory. 



»Types of Write Operation 



Wr i t-e 
(Write) 

Writ-e+Ren 
( Write + Renumber) 


Write the edited parameter group or the data of the currently selected 
parameter group into the specified memory number. 

Write and Renumber chord sets, timbres, or rhythm sets. 


Exchange 
(Exchange) 


Exchange the edited parameter group or the currently selected 
parameter group with the data of the specified memory number. 


CoF-y 
(Copy) 

Copy+Ren 
(Copy+ Renumber) 


Data which has already been stored can be Copied into the specified 
memory number. You can perform multiple copies at once. 

Copy and Renumber chord sets, timbres, or rhythm sets. 



The Renumber function 

Each sound patch specifies a timbre number for each 
part 1 — 6. This means that when an edited timbre is 
written into another timbre number, you may need to 
re-specify new timbre numbers for any sound patches 
which use those timbres. 

When an edited timbre is written into another timbre 
number, the Renimiber function will automatically modify 
(renumber) the corresponding timbre numbers specified 
in each sotmd patch. If you use the renumber function, 
you will not have to re-specify timbres for each sound 
patch that happens to use the timbre you wrote into a 
new location. 



131 



Z Write Operations 



Example : When you edit internal memory timbre All and 
Write + Renumber it into B63, the edited timbre 
will first be written into B63. Next, all internal 
sound patches will be searched to see if any 
of them specify timbre All for a part, and if 
so, they will be renumbered to B63. 

The renumber function can also be used when timbre 
numbres change as a result of copying. 

* When writing (copying) internal timbres, interna! sound patches 
will be renumbered. For RAM card timbres, RAM card sound 
patches will be renumbered. 

It is not possible to write (copy) + renumber between internal 
and RAM card memories. 

In the same way, if you write (copy) + renumber a chord set 
or rhythm set, the chord set number and riiythm set number 
specified by each keyboard patch or sound patch will be 
modified after the data is written (copied). 



Basic Writing Procedure 



From the edit 
display, 

iJUMPI-*-rENTgR] 



I DATA I -* R1 CURSOR (specify Write) -^ FlNTgRl 



Select the parameter group 
R1CURS0Rr»n-* iENTfeRl 



Select the write function 
RlCURSOR ^tvlVALUErAl or the VALUE slider 



Select the writing destination 
CURS0R[E1-*[1]VALUE[a] or the VALUE sHder or 
IINT/Al . reM57n . BANKH— H], NUMBER|T|— [1] 



Execute writing 
(This is the same for the writing procedures of all parameter groups) 

lENTERK VALUEm 



132 



2. Write Operations 



a Writing a patch 

Here we will explain how to Write a keyboard patch or sound patch into memory, 
and also explain the Exchange and Copy functions. The writing procedure for keyboard 
patches and sound patches differs only in the parameter group selection. A Part 
Copy function is also provided for sotmd patches. 

■ Patch Writing Procedure 

To write an edited patch into memory, use the following 
procedure. 



* While editing a patch, you can press | JUMP KFeNTER i to jump 
directly to step ®. 



CD Press I DATA I to enter data mode, and press RTICURSOR to make Write blink. 



Data 



mi Sa'v'e-LoadlBulk i Utl 



Press ENTER!. 



Dat-a^-Ur i te 

^^mt Chrdi SoundlTp-ibrl Rhy 



Keyboard Patch Parameter Group 

Sound Patch Parameter Group 



UseF^CURSORfFlto make Kybd or Sound blink. 



©Press I ENTER 1. 



D a t a ^-^ Ul r i t e .-- K y b d 



Write Function 



Destination Patch Number 
Current Patch Number 



©^"QCURSOR to make the Write function blink, and use [v] VALUE or the VALUE slider to 
specify Write. 



©Use CURSOR [3 to make the Destination patch number blink, and use [v]vALUE|T] or the 
VALUE slider to specify a patch number. 



* As in play mode, the panel buttons can also be used to specify 
a patch number. 



1 oo 



2. Write Operations 



©Press ENTER 



Data.--Writ.e.--Kybd 
Sure? CURLUEA] 



HEX IT] 



©Press VALUER] and writing will be executed. (To quit witliout writing, press I EXIT | .) 



D a t- a -■■■ W r i t- e --' K y b d 

Funct-i on Cortpl et-e. 



©Press a play mode button to return to play mode. 



Patch Exchange 



This function exchanges the settings of the currently 
edited patch number with the settings of the specified 
destination patch number. 

The Exchange function can be used to check the settings 
of the destination patch number. Also, by specifying the 
same patch nimiber as the destination, you can compare 
the edited and imedited sounds. 



To exchange memories, select Exchange in step © (previous page) 
of the patch writing procedure. Next, select the destination patch 



number and press ENTER | to execute the writing operation. 



D a t a ■-- W r- i t e y' K y b d 



Write Function 



Destination Patch Number 
Current Patch Number 



Patch Copy 



This function copies the settings of a specified range 
of patches into other patch numbers. 



To copy memories, select Copy in step © (previous page) of the 
patch writing procedure. Next, select the first and last of the 
patch numbers you want to copy, specify the number of the first 



destination patch, and press | ENTER | to execute the writing 
operation. 



C' a t a .■■•• W r i t e .■•• K y b d 

j I I I Number of the first 

Write Function First Last destination patch 

Range of patch numbers to be copied 



134 



2. Write Operations 



■ Part Copy for a Sound Patch 

The sotind patch write fiinctions also include a part copy ftinction. This function copies the 
settings from a Part to another Part in the currently selected sound patch This is useful 
when creating several Parts that have the same settings. 

To use the part copy fimction, select Part Copy in step (5) of the sound patch writing 
procedure (see page 133). Next use CURS0R[3 to make the "copy destin ation pa rt" blink, 
and use [V]VALUE[a] to select the part Ex ecute the copy operation with | ENTER H VALUE 
I A I . To quit without copying, press | EXIT | . 



D a t. a '-■ y r- i t e . ■' b o u n d 



Write Function 



Copy Destination Part 
Current Part 



* Use r^ PART |1^ to select the currently selected part. 

* Copied part settings are temporary. If you want to keep the copied settings, write the sound 
patch into memory. 



1 OE 



2 Write Operations 



b Writing a timbre 

Here we will explain how to Write a timbre into memory, and the procedure for 
Exchange and Copy. The steps are essentially the same as when writing a patch. 



Timbre Writing Procedure 

To write an edited timbre into memory, use the following 
procediire. 



* While editing a timbre, you can press [JUMP H ENTER I to jump 
directly to step ®. 



©Press I DATA i to enter data mode, and press [^CURSOR to make Write blink. 



Dat 



-=d 



il SaMe-Loadi Bulk I Utl 



Press ENTER. 



Data^-'Wr it© 

Kybdl ChrdI Sound I 



mi Rhy 



Timbre Parameter Group 



Use [^CURSOR [►] to make Tmbr blink, and press { ENTER 1 . 



Part Number 



Dat-a-^'Ulr i t.e.--'T i nbre 111 



Write Function 



Edited Timbre Number 
Destination Timbre Number 



@Use[3cURS0R to make the Write function blink, and use [v] VALUE or the VALUE slider to 
specify Write. 



©Use [^PARTI^ *o specify the part whose timbres you want to write. 

©Use CURSOR r^ to make the Destination timbre number blink, and use [v]VALUE[aJ or the 
VALUE slider to specify a timbre number. 



* As when in piay mode, a timbre number can also be specified 
using the panel buttons. 



136 



2. Write Operations 



©Press ENTER 



Dat-a^-'Ulr it.©.-"T imbr-e t i H 
Sure? E: UflLUEA 1 .-- L EX I T 3 



Press VALUE A and writing will be executed. (To quit without writing, press EXIT j.) 



Dat.a.--"Write^-Ti fibre C 1 3 
Funct- ion Cofiplet-e 



(D Press a play mode button to return to play mode. 



Timbre Exchange 



This function exchanges the currently edited timbre 
settings with the settings of a specified destination timbre. 
The Exchange function can be used to check the settings 
of the destination timbre number. Also, by specifying the 
same timbre number as the destination, you can compare 
the edited and unedited timbres. 



When exchanging, select Exchange in step ® (previous page) of 
the timbre writing procedure. Next, select the destination timbre 



number and press | ENTER I to execute the writing operation. 

Part Number 



Dat.a--'Writ.e.''Tip-ibre[ 1 1 

TeRps IRl lHHlfi33 



Write Function 



Destination Timbre Number 
Edited Timbre Number 



Timbre Copy 



This function copies the settings of a specified range 
of timbres into other timbre numbers. 



When copying, select Copy in step (D (previous page) of the 

timbre writing procedure. Next, select the first and last of the 

timbre numbers you want to copy, specify the number of the 
first destination timbre. Press 



ENTER to execute the writing 



operation. 



Dat-a^-- Wr i t.e.--'T i r-'ibre 



Write Function 



(First) 



r 

(Ust) 



Range of timbre numbers to be copied 



First Destination 
Timbre Number 



137 



2. Write Operations 



Write + Renumber/ Copy + Renumber 

The Renumber functions allow you automatically renumber 

the timbres used by each soimd patch at the same time 

that you store an edited timbre into another timbre 

number. 

This is very convenient when you want to renumber the 

timbre numbers specified in each sound patch so that 

the newly written timbres will be used. 

It is also possible to automatically renumber when 

Copying. 



To write and renumber, select Write + Ren in step ® of the 
timbre write procedure. The remaining steps are the same as 
when writing. 



Dat.a.-'ljLlr- i t-e.-'T i fibre C 1 3 

Terop: Ifil lHHifl33 



Write Function 



Destination Timbre Number 
Edited Timbre Number 



To copy and renumber, select Copy + Ren. The remaining steps 
are the same as when copying. 



D a t- a ■-■■■ Ul r i t. e .-- T i fi b r e 

Ifill-Ifil4^Ii:::i21 



Write Function 



ITT^ 



(First) (Last) 
Range of Timbre Numbers to Copy 



First Destination 
Timbre Number 



* When writing (copying) internal timbres, internal sound patches 
will be renumbered. When writing (copying) RAM card timbres. 
RAM cand sound patches will be renumbered. 
It is not possible to write (copy) + renumber data between 
internal and RAM card memory. 



138 



2. Write Operations 



c Writing chord sets ' rhythm sets 

the exchange and copy functions. The procediire is essentially the same as for timbre 
writing. 

■ Chord Set/ Rhythm Set Write Procedure 

To store edited chord sets/rhythm sets, use the following 
procedure. 



* While editing a chord set/rhythm set, you can press JUMP 



I ENTER 1 to jump directly to the display of step ©. 



(D Press I DATA | to enter data mode, and use F*! CURSOR to select Write. 



Data 



W SaMe-LoadI Bulk! Utl 



Press ENTER . 



Data^-yr i te 

KybdiMii^l Sound I Tribrl Rhy 



Chord Set 



Rhythm Set 



iUse[3cURS0R[3 to select either Chrd or Rhy, and press | ENTER | . 



Number of Button Selecting the Chord Set 
When Writing a Chord Set I 



Data.--Ulr-ite--'CI-tordi: 1 1 



Write Function 



Destination Chord Set Number 
Edited Chord Set Number 



^" I CHORD 1 i or | CHORD 2) to specify the button whose chord 
set you want to store. 

When Writing a Rhythm Set 



D a t. a y' W r i t. e ^ R h y t h r 



Write Function 



r 



Destination Rhythm 
Set Number 



Edited Rhythm Set Number 



139 



2. Write Operations 



®y8«HcURS0R to make the Write function Wink, and use [VJVALUE or tiie VALUE slider to 
specify Write. 



HJse CURSOR [3 to make the Destination number blink, and use [v]VALUE[a] or the VALUE 
slider to select a number. 

(Chord set: 11—18, CI— C8 Rhythm set: II— 14. CI— C4) 



*You can also use | INT/ A I , |CARD/Bi , NUMBER \B~\b} 
(NUMBER [T]— 21 for rhytJim sets) to select. 



Press ENTER 



D a t. a ■■■■■ m r i t e ■■■' * * >h * 
Sure? EUflLUEA3 



•- cexit: 



©Press VALUE[a], and writing will be executed. (To quit without writing, press | EXIT I.) 



Da t-a^ W r i t- e ^'* *** 

Funct. ion Corop 1 e+..e - 



Press a play mode button to return to play mode. 

■ Exchange Chord Set/ Rhythm Set 

This function exchanges the settings of the cinrrently 
edited chord (rhythm) set number with the settings of 
the specified destination chord set nxunber. 
This Exchange function can be used to check the settings 
of the destination chord (rhythm) set number. Also, by 
specifying the same chord set niunber as the destination, 
you can compare the edited and unedited chord (rhythm) 
sets. 



When exchanging, select Exchange in step ® writing procedure 
explained above. Next, select the destination chord (rhythm) set 



number and press ENTER execute the writing operation. 



Number of Button Selecting the Chord Set 
When Exchanging a Chord Set 



Dat.a^-Wr.ite--'ChordC i 1 



Write Function 



Destination Chord Set Number 
Edited Chord Set Number 



140 



2. Write Operations 



Copy Chord Set/ Rhythm Set 

This function will Copy a chord (rhythm) set from 
memory into another chord (rhythm) set nimaber. The 
same is possible for a rhythm set. 

To COPY, select Copy in step ® of the writing procedure (previous 
page). Next, select the chord (rhythm) set to be copied, and the 



copy destination chord (rhythm) set number. Press | ENTER 1 to 
write the data Into memory. 

When Copying a Chord Set 




Write Function Chord Set Number to Copy 

The procedure is the same for Rhythm Set. 



Copy Destination 
Chord Set Number 



I Write + Renumber/ Copy + Renumber 

When the Rentmiber + Write function is used, the currently 

edited chord set will be written into another chord set 

number, and at the same time, each Keyboard Patch which 

uses that Chord Set will be renumbered to use the newly 

written Chord Set. 

This function is convenient when you want to rewrite 

the chord set numbers of each patch along with chord 

set settings. This Renumber function can also be used 

with the Copy operation. 

Using the Renumber + Write function to write a rhythm 

set will cause the Sound Patch numbers to be renimibered. 

When renumbering with the Write operation, select Write + Ren in 
step ® of the chord ( rhythm ) set writing procedure . The 
remaining steps are the same as when using the Write operation. 

When Renumbering a Chord Set 



Data.'-'Wr i te.--Chordl[ 1 1 

Temp: I 1 



•*I1 



Write Function 

When renumbering with the Copy operation, select Copy + Ren. The 
remaining steps are the same as when using the Copy operation. 



Da-ta^Wr i t-e^'Chord 



II -^II 



Write Function 

* When you Write (Copy) + Renumber an internal chord set, 
interna! keyboard patches will be renumbered. For RAM card 
chord sets, RAM card keyboard patches will be renumbered. It 
is not possible to Write (Copy) + Renumber data between 
internal and RAM card memory. 



141 



3. Saving/Loading Data 



3. Saving/ Loading Data 



Save and Load functions are xised to transfer groups of data between internal memory 
and a RAM card. 

#Dat8 Groups for Saving/toading 



Display 


Save/ Load 


fill 


All data In memory (setup, 64 keyboard patches, 8 chord sets. 




64 sound patches. 128 timbres. 4 rhythm sets) 


Set-up 


All setup data 


Kybd+Chord 


64 keyboard patches. 8 chord sets 


Chord 


8 chord sets 


S o un d + T Pi b r+ R h y 


64 sound patches, 128 timbres, 4 rhythm sets 


Tinbre 


128 timbres 


Rhyt-hr-i Set- 


4 rhy^m sets 



#Save/Load Data Transfer 



Display 


Save/ Load 


Int-e- Card 
Int- -^Card 
I nt-HH^Card 


Copy RAM card data to internal memory (Load) 
Copy internal memory data to RAM card (Save) 
Exchange internal memory data and RAM card data (Exchange) 



■ Save/ Load Procedure 

(D lJUMPHflxirl 



Da t. a ■■■- S a Me - Lo ad 



Int--^ Card 



Group of Data to Save/ Load 



Direction of Data Transfer 



lUse RH CURSOR [F] to select the item, and use [v]VALUE[a] or the VALUE slider to specify 
the parameter group, and how the data will be saved or loaded. 



CD ENTER 



Data^Sawe-Load 

Sure? C UfiLUEi 1 ^ C EX I T : 



(3) If you are sure you wa nt to save or load the data, press VALUE[a]. (To quit without saving 
or loading, press EXIT .) 



Da t- a.-- Sa M e - L o a d 

Function Conp 1 et-e. 



I Press a play mode select button to return to play mode. 



142 



4. Data Transfer Using MIDI (Dump) 



4. Data Transfer Using MIDI (Dump) 



The Dump function allows you to transmit U-20 memory data as a MIDI System 
Exclusive message that can be received and stored by another MIDI device. 

Using the Dump function, you can store U-20 data into 
a sequencer, or transfer identical memory settings into 
another U-20. By recording U-20 data into a sequencer 
as part of a sequence recording, the memory data will 
be transmitted as part of the sequence playback, so that 
the U-20 being controlled by the sequencer will use the 
same memory settings as when the sequencer recording 
was made. 

#Transmission 



Transmission Method 


Transmitted Data 


Transmitted in which Mode 


Bulk Dump 


Transmit Internal or RAM Card Data by 
Individual Group 


Data Mode 


Patch Dump 


Transmit All Data of the Selected Patch 


Play Mode 


Parameter Dump 


Transmit the Data Indicated by the Blinking 


Edit Mode 



* The Patch Dump function cannot be used in Part Play mode, 
Rhythm Play mode, or ROM Play mode. 



Connections 



Data is transmitted in one direction (one-way transmission) 
Make MIDI connections as follows. 









MIDI 
OUT 






























[=J 




1 


III! 


Ill 


1 


II 


B 


III 



MIDI 
IN 



CX3 OD 



U-20 



Sequencer or other U-20 



143 



4. Data Transfer Using MIDI (Dump) 



■ Device ID 

When receiving and transmitting Exclusive messages, the Device IDs of the two devices must 
match (o-page 178, "MIDI Implementation"). If the device ID of the incommg message does 
not match the device ID of the receiving device, the incoming message will be ignored. 



(X) \ JUMP K BANK [T]-* [^CURSOR [F] (select the next display) 



Edi t---'Set.UF.-^MID I -■'" C o ri fi o n 
4 Sy sEx DeM i c-e I tf=WB 



©Use [V] VALUE [a] or the VALUE slider to set the Device ID. 

(D Press one of the play mode select buttons to return to play mode. 

■ When Receiving Exclusive Messages 

For exclusive messages to be received, the Exclusive Reception switch must be On. If the 
Exclusive Reception switch is On, exclusive messages can be received at any time. 



® \ JUMP H BANK m— CURSOR [»! (select the next display) 



E d i t- ■■■•■ S e t- u p ■■■■■ M I D I ^ C o r-'i pi o ri 
4 Rx SysEx = ^M 



©Use [V] VALUE [3 o"" ^^^ VALUE slider to turn the Exclusive Reception switch On. 

While an exclusive message is being received, the following display will appear. (If the received 
exclusive message is very short the display will not appear.) 



Rece i '-..' i ri9 Exc- 1 us i ye 



* While an exclusive message is being received, other operations will be slowed down. For this 
reason, you will normaliy leave this setting Off. 



144 



4. Data Transfer Using MIDI (Dump) 



The Bulk Dump function can be used to transmit selected groups of data from mtemal 
memory or RAM card to an external device such as a sequencer or another U-20. 



IData Groups for Transmission 



Type of Data 



Call currently 
selected data) 



Int-ernal 

(data in internal 

memory) 



Data Group 



fill 



Keyboard Patch 
Chord CI 3 
ChordC2 3 
bound Pat-ch 
TipibreC 1 ] 

TinbreESH 
Ti fibre C 1-63 
Rhyt-hni Set 



fill 



Setup 

Keyboard Patch 
Chord 

Sound Patch 
Tir-ibre 
Rhythm Set 



Transmitted Data 



RfiM Card Card fill 



All currently selected data 

(keyboard patch, chord 1/2. sound patch, timbres 

assigned to parts 1 —-6, rhythm set) 
The currently selected keyboard patch 
The chord set of chord 1 
The chord set of chord 2 
The currently selected sound patch 
The timbre assigned to part 1 

The timbre assigned to part 6 

The timbres assigned to parts 1 —6 

The rhythm set assigned to the rhythm part 



All data in internal memory 

(setup, 64 keyboard patches, 8 chord sets. 64 sound 

patches, 128 timbres, 4 rhythm sets) 
Setup 

64 keyboard patches 
8 chord sets 
64 sound patches 
128 timbres 
4 rhythm sets 



All data in the RAM card 



■ Bulk Dump Procedure 

® | DATA i -^gQcURSORFFI (select Bulk) -* [ENfiR 



D a t a X B u 1 k 

MWMMl Internal I RAM Card 



CDHcURSOR[F] (select the type of data to transmit) ">rENTER 



Data^Bulk^'Temp 
Bulk Dump WMM 



U8e[VjVALUE|_Ajor the VALUE slider to select the data group to transmit 



® '*''®" i ENTER I and the data will be transmitted. (If the transmitted exclusive message is very 
short, no display will appear.) 



Press a play mode select button to return to play mode. 



4. Data Transfer Using MIDI (Dump) 



b Patch Dump 



When the Patch Dump switch is On, selecting a patch from the front panel ( | INT/ A 



CARD/B , BANK m— 8 . NUMBER 1 — 8 ) will transmit the data of the selected 



patch. 



^Transmitted Data 



Piay Mode 


Transmitted Data 


Keyboard Patch Mode 
Sound Patch Mode 

Link Play Mode 


Keyboard patch, chord sets assigned to chords 1 and 2 

Sound patch, timbres assigned to parts 1 —6, rhythm set assigned to 

the rhythm part 

Both keyboard patch and sound patch data (including the assigned 

chord set, timbres, and rhythm set) 



■ Patch Dump Procedure 

(P I JUMP \ — BANK pn-*r^CURS0R[»1 (select the next display) 



Edit- .-•■ S e t. u p -■' ril D I -■■■ C o ni n o n 
^i SysEx Patch Durp=M0 



Press VALUE A to turn the Patch Dump switch On. 



d) Return to play mode. 

(DWhen you select a patch from the front panel, the data of the selected patch will be transmitted. 



* Patch data will not be transmitted when a patch is selected 
in response to a program change message from an external 
device, or when you use [v]VALUE[a] to select patches. 

* When Patch Dump is used, patch selection will be slightly 
slower. For this reason, you should normally leave the Patch 
Dump switch Off. 

* Data will not be transmitted in part play mode, rhythm play 
mode, or ROM play mode. 



C TransTiitting data of the specified paramotor -paramotor dump 



While editing, you can press | ENTER | to transmit the value of the currently selected 
(blinking) parameter. 

(Example) 



Edit ■■■■■ S o u n d . ■- Par- 1 1 .-" u t p u t- 
As9n=ReM Lvl~^^^ Pan=>< 



For example, if you press I ENTER I from this display, the 
volume level of part 1 (127) will be transmitted. 



146 



5. Utilities 



5. Utilities 



In addition to the Write and Data Transfer functions already explained, data mode 
includes Initialization and MIDI Monitor functions. 

a Initialize (Data UtI (nitializey 

This function initializes (restores to a basic setting) the currently selected data. 

* Only the currently selected keyboard patch or sound patch will 
be initialized. Data already written into internal memory or RAM 
card will not be affected. 

* The initialized values of each parameter group are shown in the 
supplementary material at the end of this manual. 



►Data Groups for Initialization 



Display 



fill 



■JufiR Page 

Set-uR 
Kybd P.Eit.Gh 
Chordj:i3 
Chord C 23 
Sound Patch 
Parti 

Parts 

Rhyf_.hr--i Part 
Tir--ibrei:i3 

TifibreCSH 
Tir-^ibreC 1-6 3 
F^hythr-i Set 



Initialized Data 



All currently selected data 

(page memory, setup, keyboard patch, chord 1/2, sound patch, 

timbre assigned to parts 1 —6, rhythm set) 
The jump destination displays assigned to the BANK and 
NUMBER buttons 
All setup data 

A!l data of the currently selected keyboard patch 
The chord set assigned to chord 1 
The chord set assigned to chord 2 
All data of the currently selected sound 
All data of part 1 

All data of part 6 

Aii data of rhythm part 

The timbre assigned to part 1 

The timbre assigned to part 6 

The timbres assigned to parts 1 —6 

The rhythm set assigned to the rhythm part 



5. Utilities 



■ Initialization Procedure 

® ! DATA I -* CURSOR [Fl (select Utl) 

ENTER | ->R]CURSOR (select Inttlalize) 



ENTER 



Da t a-'-Ut 1 y I n i t- i a 1 i 
Initial i z © M^M 



®Use [v]VALUE[a] to select the data group to imtialize (refer to the following chart). 



ENTER 



Dat.a.--Ut. 1 -■■■ I n i t i a 1 i ze 
Sure? C UflLUEA 1 .--■ HEX I T 3 



If you are sure you want to initialize the data, press VALUE jA |. (To quit without tnittaltzlng, 
press 



EXIT .) 



Dat-a^Ut. 1 .■■■■ I n i t i a 1 i ze 
Func-t- ion Cofip 1 et-e - 



J^ and in a short time, 



Dat.a.--lJt- 1 .-■' Initialize 
Initialize ifUS 



Press any play mode select button to return to play mode. 



148 



5. Utilities 



b MIDI Monitor 'Data UtI MIDI Monitor' 

The MIDI Monitor function allows you to view data transmission/reception between 
the U-20 and external MIDI devices. 

The MIDI Monitor puts the data received from MIDI IN or the data transmitted 
from MIDI OUT into a monitoring buffer, and displays it in hexadecimal form. The 
buffer can hold 256 bytes, and new data will overwrite the old data. 



(D l DATA \ - CURSOR [►! (select Utl) 

ENTER I "* CURSOR [F] (select MIDI Monitor) 



ENTER I (the MID! Monitor display appears) 



RUN/STOP Mode 

L 



Data^Ut. 1 --•M I D I : WMmm = Rx 1 
256= < , — , — . — .•■'9e_3C„7F=+= 

n 



Display Pointer A 



Data 



(RUN/ STOP 



In the MIDI Monitor display, the following parameters 
will determine how MIDI data is monitored. 

While this is set to RUN, data will be received into the 
monitor buffer, and will continue to be received even if 
you move to another display. When this is set to STOP, 
data reception will stop. 

®UseHcURSOR to make the RUN/STOP indication blink. 



Press VALUE[T| for RUN, press [vIVALUE for STOP. 



•Mode CRxl. Rx2. Tx) 



This determines how data will be received into the 

monitor buffer. 

Rxl : Ail incoming MID! data will be monitored 

Rx2 : All incoming MIDI data except for realtime messages will 

be monitored 
Tx : All transmitted MIDI data will be monitored 



®Usa CURSOR [F] to make the mode Indication blink. 
(DUse [ylVALUEfAlto select the monitoring mode. 



* When you change the monitoring mode, all data in the buffer 
will be cleared. 

* Realtime messages are used mainly to synchronize sequencers 
and rhythm machines. Active sensing is included in realtime 
messages. 



^AQ 



5. Utilities 



* 



I About the Display 
(Display Pointer 



The display pointer indicates the position in the data 
buffer occupied by the currently displayed data. A display 
pointer of 256 indicates the most recently received data. 

* If new data is received during RUN, the display pointer will 
automaticaily be set to 256. 

You can use [^ PART [►] to move the display pointer and 
scroll through the entire data buffer to see the data that 
was previously received. 



Pointer : 



1 2 
finally disappears 



6 bytes displayed 

I 1 

■ • ■ 254 255 256 

*-*:+: *-H.:^F: «-:+::+: 

As new data is received, 
old data moves back ... 



The most recent MIDI data 
is located at pointer 256 



I Data 



MIDI data is displayed in hexadecimal notation. " " 

indicates that MIDI data has not yet been received. One 
of the following symbols will be displayed in front of 
each MIDI data byte to indicate the type of data. 



00 — 7F, F7 (data bytes, EOX) 

80— F6 (status bytes) 

F8 — FE (realtime messages) 



►A. B 



"4" or "►" indicate that data exists in the buffer before 
or after the displayed data. Immediately after MIDI data 
is received, B will show "^t:". 



* When the power is turned on, the monitor buffer will be empty, 
and the monitor will be set to STOP. 



150 



SUPPLEMENTARY MATERIAL 



'ik' 



; 4'*>i-K» .W. 



5*- 



— i , - 



.1. *s^ I at 4/-K« 










, •"; *w* j^r"*. * * .' 



r 4 II t ■ 



1. w^' 



^ *• Jsi 



,i't- ^ 



1* ■ - 



■\ "■ . 



«• - .^ 






»i' 



\'^ .v 



1. Error and other Messages 



1 . Error and other Messages 



If there has been some mistake in operation, or if it was not possible to correctly 
execute the specified operation, an error message will appear in the display. A message 
will also appear on other occasions when some unusual condition occurs. Determine 
what the problem is, and take the appropriate action. 



IWhen the power is turned on 



Internal Battery Loui 



Problem : 

The internal backup battery has run down. 
Action : 
Contact a Roland service station. 



When using a RAM card or PCM card 

When you insert or remove a PCM card, this 
message will appear and operation will briefly 
halt. (This is normal.) 



Check ing PCM Card. . . 



It's a New RAM Card. 
Initialize it? EENTER3 



Problem : 

The RAM card inserted mto the RAM card slot 
has not been initialized for use by the U-20. 
Action 1 : 
If the RAM card is new or if you want to use 
a RAM card from another device for the U-20, 



press 



ENTER . The RAM card will be initialized, 



and internal memory data will be written into 
it. Please use M-256E RAM cards. 
Action 2 : 
If you have mistakenly inserted the wrong card, 
remove it immediately. 



Data/***** 

RRM Card Protected. 



Problem : 

The protect switch of the RAM card is On, and 
writing is not possible. 
Action : 
Turn the protect switch of the RAM card Off, 
and try the operation again. 



Data/***** 

Card Not Ready. 



Data/***** 
RAM Card Uerify Error! 



Problem : 

When writing, saving or loading, the data was 
not correctly written into the RAM card. 
Action : 
Make sure that the RAM card is correctly 
inserted, and try the operation again. 



RAM Card Battery Low! 



Problem : 

The battery of the RAM card has run down. 
Action : 
Replace the battery according to the instructions 
in the RAM card manual. 



152 



1. Error and other Messages 



Illegal PCM Card! 
Please^ take it out. 



Problem : 

The card inserted into the PCM card slot is 
not a PCM card. 
Action : 
Immediately remove the card from the PCM card 
slot. 



When using external MIDI devices 

Cause : 



Receiuin9 Exclusiue. 



Exclusive data is being received . ( If the 
exclusive data being received is very short, this 
message will not appear.) 
Action : 
Wait until reception ends. 



Transmitting Exclusive. 



Cause : 

Exclusive data is being transmitted. (If the 
exclusive data being transmitted is very short, 
this message will not appear.) 
Action : 
When transmission ends, the display will show 
"Fimction Complete", and then return to the 
previous display. 



SysEx Check Sum Error! 



SysEx Data Length Error! 



Problem : 

System exclusive data was incorrectly received. 
Action : 
Check MIDI cables and the message that was 
transmitted, and try the operation again. 



When in Data Mode (other than the above) 

Cause : 



Data/***** 

Sure? CUfiLUEA] / CEXIT] 



This message will always be displayed when 
you write data into internal memory or a RAM 
card. 
Action 1 : 
If you are sure you want to write the data into 



memory, press VALUE | A 
Action 2 : 

To quit without writing data into memory, press 



EXIT 



Data/***** 

Func-tion Complete. 



Cause : 

The write, save, or load operation has been 
completed. 
Action : 
Wait for a short time until the previous display 
appears. 



153 



2. Troubleshooting 



2. Troubleshooting 



I No sound or not enough volume 
INo sound or not enough volume in ROM play mode 

Ols VOLUME too low? 

Adjust the volume settings of the U-20 and the mixer/ 

amp system. 

OAre the outputs connected correctly? 
If you hear soimd in the headphones, the problem is 
probably in the amp or cable. Check the connections. 

^No sound or not enough volume in modes other than ROM play 

OAre the key range and velocity range settings correct 
for each Part? 
(a- page 95) 

OAre the Part or Timbre levels too low? 
(o-page 51, 61) 

OHas control change data been received from external 
MIDI devices or controllers, causing Part level or Timbre 
level settings to be lowered ? 
Select (or re-select) a Sound Patch. 

Ols the PCM card containing the specified tone inserted 
correctly ? 
(o-page 60) 

►No sound or not enough volume In Link Play, Keyboard Patch, or Sound Patch modes 

ODoes the Tx channel of the keyboard match the Tx 
channel of each Part? 

Check these settings in the sub-display of Sound Patch 
mode, 
(D-page 122) 

Ols local control turned Off? 
(o-page 108) 



154 



2. Troubleshooting 



I Pitch is incorrect 

Ols the keyboard transposed? 
(o-page 29) 

Ols the master tuning incorrect? 
(a- page 23) 

Ols the pitch shift setting for each Timbre incorrect ? 
(o-page 63) 

OHas pitch bender data been received, leaving the pitch 
"hanging" at some non-zero value ? 
Move the bender lever slight, and the pitch will return 
to normal. 

Sounds are not selected as you expect 

Ols the correct play mode selected? 
To select Sound Patches, you must be in Link Play mode 
or Sound Patch mode. To select Timbres, you must be 
in Part Play mode. 

OAre you in Edit mode or Data mode? 
Press a play mode select button to enter play mode. 

Ols the Patch Dump switch On? 
If the Patch Dump switch is On, Patch changes will 
be slightly slower. Normally you will leave this switch 
Off. 
(o-page 107) 

MIDI data from a sequencer is not received correctly 

Ols the Rx channel of each Part set correctly? 
Check these settings in the sub-display of Sound Patch 
mode, 
(o-page 122) 

OAre the key range and velocity range of each Part set 
correctly ? 
(crpage 95) 

Ols the voice reserve fimction set appropriately? 
("■page 117) 



1HR 



3. Operation Map 



3. Operation Map 



Edit Mode 



irnm- 



Setup 



Keyboard Patch 



Chord 



Sound Patch 



Timbre 



Rhythm Set 



Master Tune 



Effect 



LCD 



MIDI 



t RICURSOR 
I CURSOR H 



Common 



Keyboard 



Sound 




Velocity 



Key Transpose 



Chord 1/2 ♦ 



Arpeggio 



ENTER 

mm 



I CHORD 1 1 
I CHORD 21 



* BlPARTfEl 
\ (PART 1—6) 



Name 



Tone 



Name 



Effect 



Control 



Part 



Rhythm Part 



Chorus 



Reverb 



Timbre 



Voice Reserve 



MIDI 



Output 



X 



Name 



Tone 



Level 



Pitch 



Vibrato 



*4 



(B1-D7) 




ilM 



Tone 

Level 

Pitch 

Output 



iK 



156 



3. Operation Map 



Data Mode 



t SCURSOR 
j CURSOR E] 



[DATA 



Write 



Save - Load 



Bulk 



Ut! 



Kybd 



Chord 4 



Sound 



Timbre ♦ 



Rhythm* 



I ENTER I 

ran 



Write 

Uir it.e+Reri C*only) 

Exchange 

Copy 

Copy+Ren C*onlv) 



SaueC-^^ 

E X c h a n 9 e < -^ •* y 

Loadf>> 



Temp 



Internal 



RAM Card 



■* CBulk DunpH 



Initialized 



MIDI Monitor 



■* t Initialize] 
■> C Monitor 3 



Execute: 1 ENTER l ->VALUEfAl 
Quit : rE5<iTl 



4. Parameter List 



4. Parameter List 



Setup 



Parameter Group 


Parameter 


Setting Range 


M.Tune 


Master Tuning 


427.4-45^^ Hz 


Effect 


Chorus Switch 


Off. On 


Reverb Switch 


Off, On 


LCD 


LCD Contrast 


0—15 


MIDI 


Common 


Local Control 


Off. On 


Device ID 


1—32 


Patch Dump Switch 


Off, On 


Rx Exclusive Switch 


Off. On 


Kybd 


Rx Control Channel 


1—16. Off 


Tx Setup Channel 


1—16 


Tx Control Change Switch 


Off, On 


Tx Program Change Switch 


Off. On 


Tx Channel Aftertouch Switch 


Off. On 


Tx Active Sensing Switch 


Off. On 


Sound 


Rx Control Channel 


1—16. Off 


Rx Timbre Change Switch 


Off. On 



Keyboard Patch 



Parameter Group 


Parameter 


Setting Range 


Name 


Keyboard Patch Name (12 Characters) 


(space) A-Z a-'Z 0-9 -/ + *..:; 

=!" #$x& 'o (){)[]_? ;> 


MID! 


Tx Channel 


1—16, Set 


Tx Arpeggio Channel 


1—16. Set. Tx 


Tx Control Channel 


1—16, Set. Tx 


Tx Program Change Number 


1—128, P.N. Off 


EXT Control 


Channel 


Tx Ch. Tx Ctri Ch 


Control Number 


0—5. 7—31, 64—95. Off 


CI Control 


Channel 


Tx Ch. Tx Ctrl Ch 


Control Number 


0—5. 7—31. 64—95. Off 


C2 Control 


Channel 


Tx Ch. Tx Ctrl Ch 


Control Number 


0—5, 7—31. 64—95. Off 


Perform 


Veio 


Offset 


1—127 


Sensitivity 


0—127 


Trans* 


Key Transpose 


-36- +36 


Chord ^ 


Chord (1/2) 


Chord Set Select 


1—8 


Key Offset 


0—11 


Retrigger Mode 


Off, Low. Hi 


Arpe* 


Arpeggio Type 


Up. Down, Up & Down. Random 


Arpeggio Rate 


0—127 



* : Can be turned on/ off by pane! buttons, and memorized 



158 



4. Parameter List 



Sound Patch 



Parameter Group 


Parameter 


Setting Range 


Name 


Sound Patch Name (12 Characters) 


(space) A-2 a~z 0-9 - / + * ■ ■ 
= 1- «$X& ■() <) {) [] _? j) 


Effect 


Chorus 


Chorus/ Flanger Type 


Chorusi, Chorus2. FB^Ihorus, 
Flanger, Short Delay 


Output Mode 


Pre Rev, Post Rev 


Chorus/ Flanger Level V 


0—31 


Delay Time 


0—31 


Chorus/ Flanger Rate V 


0—31 


Chorus/ Flanger Depth 


0—31 


Feedback V 


-31 — + 31 


Reverb 


Reverb/ Delay Type 


Roomi— 3. Main, 2 
Gate, Delay, Cross Delay 


Reverb/ Delay Time 


0—31 


Revert)/ Delay Level V 


0—31 


Feedback V 


0-31 


Ctrl 


Prml 


Control Number 


0—5. 7—31, 64—95, Off 


Parameter Select 


oOU *1* 1 


Pnn2 


Control Number 


0-5, 7-31. 64—95. Off 


Parameter Select 


See * 1 


Prm3 


Control Number 


0—5. 7-31. 64—95. Off 


Parameter Select 


See *1 


Parti— 6 


Timbre 


Timbre Select 


All— ABB, B11— BBS 


V.Rsv 


Voice Reserve 


0—30 See *2 


MIDI 


Rx Channel 


1—16, Off 


Key Range 


C-1-G9 


Velocity Range 


1—127 


Rx Volume Switch 


Off. On 


Rx Pan Switch 


Off, On 


Rx Hold Switch 


Off. On 


Output 


Output Assign 


Dry. Rev, Cho, Dir 


Part Level 


0—127 


Pan 


7 > — >< — < 7. Rnd 


R.Part 


Rhythm Set Select 


1—4 


Voice Reserve 


0—30 


Rx Channel 


1—16. Off 


Part Level 


0—127 


Level Boost Switch 


Off. On 


Rx Volume Switch 


Off, On 






Rx Hold Switch 


Off. On 



* 1 Parameters (Sound Patch, Timbre) indicated by V can be controlled 

*2 Voice reserve settings for Parts 1—6 and the Rhythm Part must total 30 or less. 



159 



4. Parameter List 



Timbre 



Parameter Group 


Parameter 


Setting Range 


Name 


Timbre Name (12 Characters) 


(space) A-Z a-z 0-9 -/**.. :;= 
l"#$X&'()<){}E]_?J> 


Tone 


Tone Select 


1. 1—31 - 1—128 


Level 


Timbre Level V 


0-127 


Velocity Sensitivity 


-7— + 7 


Channel Aftertouch Sensitivity 


-7~ + 7 


Env Attack Rate V 


-7— + 7 


Env Decay Rate V 


-7--f7 


Env Sustain Level V 


-7— + 7 


Env Release Rate V 


-7- + 7 


Pitch 


Pitch Shift Coarse 


-24— +24 


Pitch Shift Fine 


-50— + 50 


Bender Range (Bend Down) 


-36. -24,-12—0 


Bender Range (Bend Up) 


0—12 


Channel Aftertouch Sensitivity 


-36. -24. -12— +12 


Polyphonic Aftertouch Sensitivity 


-36.-24. -12— +12 


Auto Bend Depth V 


-36, -24. -12— +12 


Auto Bend Rate V 


0—15 


Detune Depth V 


0-15 


Vib 


Rate V 


0—63 


Waveform V 


Tri .Sine. Square, SawUp, SawDwn, 
Trim. Triiia Randm1-4 


Depth V 


0—15 


Delay Time V 


0—15 


Rise Time V 


0—15 


Modulation Lever Depth V 


0—15 


Channel Aftertouch Sensitivity 


0-15 


Polyphonic Aftertouch Sensitivity 


0-15 



V : These parameters can be controlled using Control Change data. In the Sound Patch, specify the parameters 
you want to control. 



160 



Rhythm Set 



4. Parameter List 



Parameter Group 


Parameter 


Setting Range 


Name 


Rhythm Set Name (12 Characters) 


(space) A-2 a-zO-9-/ + *.,:; 
= I"#$X& ■()(){)[]_? J) 


Bender 


Bender Range (Bend Down) 


-36, -24. -12-±0 


Bender Range (Bend Up) 


0—12 


Inst 
(B1— D7) 


Tone 


Tone Select 


i. 1-31 - 1 — 128 


Source Key 


C-1~69 


Mute 


Off. B1 — D7 


Level 


Level 


0—31 


Velocity Sensitivity 


-7- + 7 


Env Mode 


Sustain. No Sustain 


Env Attack Rate 


-7-+7 


Env Decay Rate 


-7— +7 


Env Release Rate 


-7-+7 


Pitch 


Pitch Shift Coarse 


-36. -24. -12— +12 


Pitch Shift Fine 


"50— + 50 


Channel Aftertouch Sensitivity 


-36, -24. -12-+12 


Polyphonic Aftertouch Sensitivity 


-36, -24, -12— +12 


Pitch Randomize 


0—15 


Auto Bend Depth 


-36. -24. -12— +12 


Auto Bend Rate 


0—15 


Detune Depth 


0—15 


OutDUt 


Output Assign 


Dry. Rev, Cho, Dir 






Pan 7>™><_<7_Rnd 



Chord Set 



Parameter Group 



Name 



Note 

(a c#— B) 



Parameter 



Chord Set Name (12 Characters) 



Chord cup to 8 notes) 



Setting Range 



(space) A -Za-zO-9- / + *.,:; 
= !" #$X& '() <) {} [] _? J) 



A chord played on the Iceyboard 



1R1 



5. Factory Setting 



5. Factory Setting 







1 1 1 


h— 




b-.ri 


_ 


h— 






00 


'J 


0^ 


Ul 


■(>" 


u> 


to 


hH-' 


TJ 


QD 

> 


■n 


CD 


s 




CD 


m 


n 


> 


01 

3 


m 


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ID 


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3" 
O 


o 


3 


U3 




3 




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T3 

3" 
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3 

m 

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o 


c 
{ft 


1) 


tu 


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s ~ 


> 


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S g 


> 


> 


> § 


S w 


E 




bo 
bO 


(O 


■SS 


CJ 


3 


^ 


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to 

00 


t^ 


to 


t^ 


^ 


to 


E^ 


to 


O 

c 

O 


03 

> 

Z 

N3 


Q. 
O 

(a 


m 
b 

to 


m 
b 

3 


m 
b 


m 
b 

(O 

o> 

3 


X 
(D 

1 


m 

Q 

c 


> 

b 

w 




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/^^ 


^^ 


3 


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> 


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> 

t^ 


K 5 


> 

Ivl 
4k. 


> 

t>o 








'-' 






' — 


•*-■ 














LO 


:£: 


UJ 


UJ 


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00 


-3 


o\ 


Ul 


w 


to 


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£0 


D3 

> 


CO 


en 


M 


w 


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c 


CO 


s 




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a 


3 


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3 


3 


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OD 




(□ 


o 


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-1 


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CO 




Z 


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O 


zr 
o 


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3 




o 

3' 


C«3 




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1 


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-1 


00 


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t ■ 


6 


6 






> 


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1 

CO 
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> 

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(B27, B 


s. 

1 1 


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3 

CD 


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CD Q. 


1 

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w 

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CO 


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to 




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tu 

Q. 


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O 


CO 
a> 

(D 

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cn 0) 


c 

T3 


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m 

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CD O 


■B ^ 


CD O 


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c 


ta 3 


rn 


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p) 

CD D. 


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CD IT 


CD 


03 a 


03 


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03 






tji (D 










M 










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00 


OO 


00 


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c^ 


Ui 


■(>■ 


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to 


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o 

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to 

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z 


Cata 

(B75 


3 ID 
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^ m 

CD 3 


CD O 

Ox r* 
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. ^ CO 

> D3 T) 
» 00 = 
_-~ 00 ■-* 

CO 00 3 


p o 


CD (D 
^ 3 
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CD to 
to < 


strophe 

B76, B77. 
B78. B8i) 


CD Jfi 


CD C3 "2 

o- ox 2 
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CD CD "' 


CD 


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4a. 


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— 


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c 

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fi> 
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162 



5. Facrtory Setting 



B Group 


A Group 




00 


■v] 




w 


'^ 


1— ■ 


to 


1— ■ 


00 


CJ 


o\ 




*^ 


U) 


to 


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W 
o 

c 


CO 
o 

c 


CO 
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c 


O 




3 


3 
1 


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5^ 


m 


m 

TJ 


m 


> 


> 

TJ 


> 

T] 


> 
Z 




(A 


O 

(0 


3 

a. 


3 

> n 

0° ^^ 




o 

T3 


o 

13 


^ 


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3 


B 


tu 

3 


0) 

3 


^ 


n 




here 2 

(1-107) 


^ zr 

s » 

K) ro 




^ 3 

3 -^ 


^ tD 


1 




1 

00 


m 


o 

1 "" 


O 

1 "" 


O 


o 


o 


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to 

00 




tsJ 
0\ 


ti 


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W 


K) 

to 


to 


^ 


^ 


to 
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bi 


^ 


&i 


to 
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M 






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-0 

s 


ro 
o 


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■D 
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3 


-0 

o 

3 


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g 

c 


m 
b 


m 
b 


m 
b 


X 

ro 


m 
Q 


Q 


1 


CD 

ro 


DB 




□gene 

(I-O 


o 

CD 

6 ro 


CL 
(Q 


CO 


o 

3 


o 

3 


ro 

s 




fi) 


t3 


(3 

D) 








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1 


Z 
ro 




B ^ 


K -*■ 


5 "^ 


2 


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tn 


ts) 


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00 


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to 


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00 


y 


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Ul 




bi 


to 


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1— « 


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Selene 2 
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CD 

ro 


CD 
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3 
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m 

3 
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3- 
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CD 

S 

3 

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CO 

S 

3 

to 


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cn 


CO 

a 

3 
03 
CO 


2J 

b 

03 


m 
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m 
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6 




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1— 


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5; 


t 


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4^ 

to 


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CD 






X 
0) 


^ 


£ 






CO 
to 


CO 


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3 


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CO 


CO 

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CO 

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CO 


CO 

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7 




3 


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3 


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(1-118) 


2 


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5 


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Ul 
Ul 


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Ul 


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Z 


z 


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n 

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cn 


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s 


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3 
o 

3 
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cn 


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H 


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P 

b 


3 
CD 


OD 


•< 
3 

CS 


o 


a. 
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Hit 2 

(1-023) 


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3 






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13 

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Ul 


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£ 


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O 


00 


3 


o> 

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o\ 

Ul 


2 


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U) 


to 


Ov 






m 

3 


m 


^ 


m 


X 


3) 


33 


"D 


c_ 


"D 


-D 


CO 


CO 


CO 


CO 


-1 




3 


3 


3 


o 


9. 


o 


ro 




O 


O 


*< 


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a 


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ro 


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ro 


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3 


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Z 




ro 
a. ^ 




ro 

la's 

3 ro 


ro 

o -^ 


s 


6 


to 


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CO 

» lO 

o 


CO 

~ S 

— CA 
O CO 

3 M 


D3 

— CO 
O CO 


5 ro 

4^ 


OD 

7" tn 

1 "" 


5 


NO 


J3 

□0 


0) 




-J 
oa 


^ 
■^ 




E^ 


Ji 




s^ 


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^ 


^^ 


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to 


^ 






O 


O 


O 


o 


D 


D 


o 


m 


CO 


w 


CO 


tl 


CD 


m 


CO 






atastrop 
(I 


fi) 

Cfl 






ro 
ro 

•D 


ro 
ro 

ro 


ro 
ro 


ro 

c3 
ro 

■=: 3 


*< 

1 

^ X 


ro. 

O 

c 
9 3 


T3 

ro 
o 

CD 

;i ro 


o 

^ CD 


3- 


ro 

TJ 
to 


3 

c 


c 
ro 

—1. 


CD 

> 

Z 




& 3- 

3 *«■ 


JL. 3- 

■J ro 
i2 w 


5 S 


— IT 

5 S 


5 


^ 


o 

-J 


2 oi 


i^ 


'Ji 


i O 


00 


6 

NO 


6 

NO 

u 


6 

NO 

to 


*J 




00 

oo 


CO 


00 

0\ 


oo 


00 

4>> 


oo 


00 

to 


00 


00 
00 


00 

■o 


00 

o\ 


Ul 


OQ 


00 


00 

to 


OS 


DD 

> 


-- 


a 
E 
3 


b 


CO 

ro 


CO 

ro 


z 




-D 


O 
D) 


CO 

3 


CO 

3 


ro 


CO 
i 


CO 

1 


"0 

c 

CA 


T] 

c: 
to 


TJ 

C 

CO 


3 

m 


en 


3 

o 


5 


R 




ff 




? 


£ 3 


3 
CO 




5 


s 


ro 


^ 


^ 


Z 
CO 


SI 

00 


5 


5 


? 3 




I 


o 


O 3 

£ ro 




o 
o 


iL ro 


r 1 
» ro 


? 1 
— ro 

n 


•— ro 

5 M 


1- ro 
2 


3 
C 

3 






5. Factory Setting 



■ Rhythm Set 
# 1 : Standard Set 













Output 




Instrument 


Pan 


Output 
Assign 




SB 


Bass Drum 1 


>< 


Dry 


o 


36 ^___ 


Bass Drum 2 


>< 


Dry 




Rim Shot 




>< 


Rev 




38 


Snare Dnjm 1 




>< 


Rev 




"^r«"^" 


Hand Clao 




2> 


Rev 




Snare Drum 2 


>< 


Rev 




41 nffsgi 


Low Tom Tom 1 


6> 


Rev 




Closed H.H 1 


• 


<2 


Rev 




43 _,^.„_ 


Low Tom Tom 2 




6> 


Rev 




Open H.H 2 


• 


<2 


Rev 




45 ^'^^ 




Mid Tom Tom 1 




>< 


Rev 




47 ^H»S™ 


Ooen H.H 1 


• 


<2 


Rev 




Mid Tom Tom 2 


>< 


Rev 


o 


^i-MM 


Hi Tom Tom 1 


<4 


Rev 




Crash Cvmbal 




<2 


Rev 




50 


Hi Tom Tom 2 




<4 


Rev 




-^T"" 


Ride Cvrnbal 




4> 


Rev 




China Cymbal 


6> 


Rev 




53 ^,^ 


CuD (mute) 


4> 


Rev 




Tambourine 


T^ 


4> 


Rev 




55 ^^^_ 


Solash Cymbal 




>< 


Rev 




Cowbell 




2> 


Rev 




57 ^*^^™ 




Crash Cvmbal 




<2 


Rev 




59 ""^ 


Snare Drum 3 




>< 


Rev 




Ride Cymbal 




4> 


Rev 


2 


Jl-^m 


Bonflo - 


■1 


•k 


<4 


Rev 


Bongo - 




A 


<2 


Rev 




62 


Conaa (mute) 


? 


2> 


Rev 




-ir*« 


ConflB - H 


-k 


2> 


Rev 




Conpa - L 


•k 


4> 


Rev 




65 ^._,,^ 


Timbale — H 


•k 


<2 


Rev 




Timbale — L 


A 


<4 


Rev 






Aqogo - H 


^ 


4> 


Rev 




AflOBO - L 


■^ 


4> 


Rev 




69 ^"*^ 




Cabasa 




2> 


Rev 




71 ^"S™ 


Maracas 


^ 


<2 


Rev 




Short Whistle 


^ 


2> 


Rev 


o 


Jl^^ 


Lonn Whistle 


t 


2> 


Rev 


Ul 


Vibra - Slap 


•k 


4> 


Rev 




74 


Belt Tree 


± 


4> 


Rev 




^r»" 


Claves 


.■^ 


6> 


Rev 




Guiro 2 


it 


>< 


Rev 






Guiro 1 


•k^ 


>< 


Rev 




Castanets 


tV 


<4 


Rev 






Hi Pitch Tom 2 




<2 


Rev 




Triannle 


tV 


>< 


Rev 








Hi Ditch Tom 1 




<6 


Rev 




83 ^E*S" 


Wood Block 


^ 


7> 


Rev 




Jinale Bell 


fV 


<2 


Rev 


o 


-^i-a^ 


Bass Drum 3 


>< 


Drv 


O) 


Bass Drum 4 




>< 


Drv 




86 


Snare Drum 4 




>< 


Rev 




"ir»" 


Snare Drum 5 




>< 


Rev 




Snare Drum 6 


>< 


Rev 




89 ^s|sa 


Low Tom Tom 3 


4> 


Rev 




Closed H.H 2 




<2 


Rev 






Mid Tom Tom 3 




<4 


Rev 




China Cvmbal 




<2 


Rev 








Hi Tom Tom 3 




2> 


Rev 




95 ^"^"™ 


Ride Cvmba! 




4> 


Rev 




Native Drum - 1 


♦ 


<4 


Rev 


o 


Jl-m^i 


Native Drum -2 


A 


<2 


Rev 


-J 


Native Drum - 3 


•k 


X 


Rev 




98 ^■■" 


X 


Rev 



# 1 : Standard Set 

A standard drum set 

# 2 : Dry Set 

The output assign of drums for all keys 
is "Dry" (no effect). 



# 3 : Electric Set 

A drum set with mainly electric toms 
and gated snare drums. 



# 4 : F=.X. Set 

A drum set with mainly sound effects. 



^ : Mute Setting 



Key 


Instrument 


Mute 


F#2 (42) 


Closed H.H 1 


A#2 


G#2 (44) 


Open H.H 2 


A#2 


A#2 (46) 


Open H.H 1 


G#2 


E5 (76) 


Guiro 2 


F5 


F5 (77) 


Guiro 1 


E5 



^ : PCM card tones are assigned to these 
keys. A PCM card (SN-UllO-02) 
must beinserted. (Common to all 
Rhythm Sets 1—4). 



164 



5. Factory Setting 



■ Chord Set 

C C# D D# E F F# G G# A A# B 

#1. Diatonic 



1 l i I ^n I I I'i' l t I'f » 1'^ h 



CuiBj? CCma]? Dm7 Pmaj? Em7 FmaJ? CmeJ? G7 A'majT Am7 B''maj7 Bm7-« 

(C'maj73 CD'maj7) CF-mai?) (A'maJ?) 

#2. Suspended 4th 



i,>L lii I '.,.i ;*;■ r ': ,; 



Caus4 Causil Daua4 D'aUB4 EauB4 Fbub4 P-suad Gsu84 G'8Lts4 Aaus4 B''8ua4 Baua4 

#3. Minor 7 ^^'^"^^ 



i^'iJi 1.1 1 I I'l . 'l "" !' ^'1^ 'T 



Cm7 Cm? Dm7 D-m? Em7 Fm7 F'm7 Gm7 Q'm7 Am7 B^m7 Bm7 

CA'm?) 



$M. ± i± ± i± "^ 



#4. Church ♦|^-«-|ji-:^:^___„_ 



i 






■^i^ f#r 



t 



M * ^ * * ^ ' ' ^ 



*^' ■ 1f» • if* 



j[g * t» * it * _^ 



1t 



T 



#5. Diatonic 3rd 




* I* « >'« ' ' »'» ' *' ' *'* ' 



i-i i i r, - t^'i ^' I ''^ "f ^ 



Cdim C dim Ddim D" dim Edim Fdim F' dfm Gdim G' dim Adim A' dim Bdlm 



#7. Ethnic 



m 



\>' b. !> 



« 0. 



■w- — P* t> 



»■ ■ ^* t> 



#8. Reverse 



8 * 



£ 






6. Preset Tone List 



6. Preset Tone List 



No. Tone Name 


Tone Type 


Remarks 1 


Piano 1 


1 


A.PIANO 1 


V-MIX 


Soft 


2 


A.P!ANO 2 


V-MIX 




3 


A.RANO 3 


V-MIX 


Bright 


4 


A.PtANO 4 


V~MIX 


Honky-tonk 


5 


A.PIANO 5 


SINGLE 


Soft 


6 


A.PIANO 6 


DETUNE 


Soft 


7 


A.PIANO 7 


SINGLE 


Hard 


8 


A.PIANO 8 


DETUNE 


Hard 


9 


A.PIANO 9 


SINGLE 


Hard and bright 


10 


A.PIANO 10 


DETUNE 


Hard and bright 


11 


E.PIANO 1 


V-MIX 


Soft + hard 


12 


EPIANO 2 


SINGLE 


Soft 


13 


EPIANO 3 


DETUNE 


Soft 


14 


EPIANO 4 


SINGLE 


Hard 


15 


EPIANO 5 


DETUNE 


Hard 


16 


BRIGHT EP1 


SINGLE 




17 


BRIGHT EP2 


DETUNE 




Vibraphone 1 


18 


VIB 1 


SINGLE 


Soft 


19 


VIB 2 


DETUNE 


Soft 


20 


VIB 3 


V-MIX 


Soft + hard 


Bell 1 


21 


BELL 1 


SINGLE 


Long decay 


22 


BELL 2 


DETUNE 


Long decay 


Marimba 1 


23 MARIMBA 


SINGLE 


1 


Guitar 1 


24 


A.GUITAR 1 


SINGLE 




25 


A.GUITAR 2 


DETUNE 




26 


A.6UITAR 3 


DUAL 




27 


A.GUITAR 4 


DUAL 


Added lower octave 


28 


A.6UITAR 5 


V-SW 


Slow attack/ fast attack Cv=100) 


29 


EGUITAR 1 


V-SW 


Muted/ unmuted Cv = 100) 


30 


EGUITAR 2 


SINGLE 


Muted 


31 


EGUITAR 3 


SINGLE 




32 


EGUITAR 4 


DETUNE 




33 


HEAVY.EG 1 


SINGLE 


Combination fifths 


34 


HEAVY.EG 2 


DETUNE 


Combination fifths 


Bass 1 


35 


SLAP 1 


SINGLE 


Thumped, pulled, harmonics CE2, F#4) 


36 


SLAP 2 


DETUNE 


Thumped, pulled, harmonics CE2. F # 4) 


37 


SLAP 3 


SINGLE 


Thumped, pulled, harmonics CB2, F # 4) 


38 


SLAP 4 


DETUNE 


Thumped, pulled, harmonics CB2, F # 4) 


39 


SLAP 5 


V-SW 


Thumped/ pulled Cv = 100). harmonics CF # 4) 


40 


SLAP 6 


V-SW 


Slow attack/fast attack Cv = 100), hannonics CF#4) 


41 


SLAP 7 


SINGLE 


Thumped, pulled, harmonics (82, C # 4) 


42 


SLAP 8 


DETUNE 


Tliumped. pulled, harmonics (82, C # 4) 


43 


SLAP 9 


SINGLE 


Thumped, pulled, harmonics (82, C # 4) 


44 


SLAP 10 


DETUNE 


Thumped, pulled, harmonics (BZ C # 4) 


45 


SLAP 11 


V-SW 


Thumped/ pulled (v = 100), harmonics (C#4) 


46 


SLAP 12 


V-SW 


Slow attack/ fast attack (v=100), harmonics (C#4) 



166 



6. Preset Tone List 



No. 1 Tone Name 


1 Tone Type 


Remarks | 


Bass 1 


47 


FINGERED 1 


SINGLE 


Fingered, harmonics CC # 5) 


48 


RNGERED 2 


DETUNE 


Fingered, harmonics (C # 5) 


49 


PICKED 1 


SINGLE 




50 


PICKED 2 


DETUNE 




51 


FRETLESS 1 


SINGLE 


Fretless, harmonics CD #6) 


52 


FRETLESS 2 


DETUNE 


Fretless, harmonics CD # 6) 


53 


AC.BASS 


V-MIX 


Added fret noise 


54 


SYN.BASS 1 


V-MIX 


Soft +hard 


55 


SYN.BASS 2 


SINGLE 


Soft 


56 


SYN.BASS 3 


SINGLE 


Hard 


57 


SYN.BASS 4 


SINGLE 




58 


SYN.BASS 5 


SINGLE 




59 


SYN.BASS 6 


SINGLE 




60 


SYN.BASS 7 


SINGLE 




61 


SYN.BASS 8 


V~M!X 




Choir 1 


62 


CHOIR 1 


SINGLE 


Long decay 


63 


CHOIR 2 


SiNGLE 


Short decay 


64 


CHOIR 3 


DUAL 


Long decay, added lower octave 


65 


CHOIR 4 


DUAL 


Short decay, added lower octave 


Strings | 


66 


STRINGS 1 


SINGLE 


Long decay 


67 


STRINGS 2 


SINGLE 


Short decay 


68 


STRINGS 3 


DUAL 


Long decay, added lower octave 


69 


STRINGS 4 


DUAL 


Short decay, added lower octave 


Organ | 


70 


E.ORGAN 1 


SINGLE 




71 


E.ORGAN 2 


DETUNE 




72 


EORGAN 3 


SINGLE 




73 


E.ORGAN 4 


DETUNE 




74 


EORGAN 5 


SINGLE 




75 


EORGAN 6 


DETUNE 




76 


EORGAN 7 


SINGLE 




77 


EORGAN 8 


DETUNE 




78 


E.ORGAN 9 


DUAL 




79 


RORGAN 1 


DUAL 




80 


RORGAN 2 


DUAL 




Wind 1 


81 


SOFT TP 1 


SINGLE 




82 


SOFT TP 2 


DETUNE 




83 


TP/TRB 1 


SINGLE 




84 


TP/TRB 2 


SINGLE 


Soft 


85 


TP/TRB 3 


SINGLE 


Bright 


86 


SAX 1 


SINGLE 




87 


SAX 2 


SINGLE 


Soft 


88 


SAX 3 


SINGLE 


Bright 


89 


SAX 4 


DETUNE 




90 


SAX 5 


DUAL 


Added lower octave 


91 


BRASS 1 


SINGLE 




92 


FLUTE 1 


SINGLE 




93 


SHAKU 1 


SINGLE 




94 


SHAKU 2 


DETUNE 





1R7 



6. Preset Tone List 



No. Tone Name 


Tone Type 


Remarks 1 


Synthesizer 1 


95 


FANTASIA 


DUAL 




96 


BELL PAD 


DUAL 




97 


SYN CHOIR 


SINGLE 




98 


BREATH VOX 


DUAL 




99 


SYN.VOX 1 


SINGLE 




100 


SYN.VOX 2 


SINGLE 




101 


LCALLIOPE 


DUAL 




102 


CALLIOPE 


SINGLE 




103 


METAL HIT 


DUAL 




104 


RICH BRASS 


SINGLE 




105 


JP.BRASS 1 


SINGLE 




106 


JP.BRASS 2 


SINGLE 




107 


BRASTRINGS 


DUAL 




108 


STRINGPAD1 


SINGLE 




109 


STRINGPAD2 


DUAL 




110 


JP.STRINGS 


SINGLE 




111 


PiZZAGOGO 


DUAL 




112 


FANTA BELL 


SINGLE 




113 


SPECT BELL 


DUAL 




114 


BELL DRUM 


DUAL 




115 


SYNTH HARP 


SINGLE 




116 


PULSEWAVE1 


SINGLE 




117 


PULSEWAVE2 


SINGLE 




118 


PULSEWAVE3 


SINGLE 




119 


SAW WAVE 1 


SINGLE 




120 


SAW WAVE 2 


SINGLE 




121 


PIZZ 


SINGLE 




122 


METAL 


SINGLE 




123 


BREATH 


SINGLE 




124 


NAILS 


SINGLE 




125 


SPECTRUM 1 


SINGLE 




126 


SPECTRUM 2 


SINGLE 




127 


N.DANCE 


SINGLE 




Drums 1 


128 1 DRUMS 


SINGLE 


Refer to the drums list 1 



* (note name) = split point (v= ) = velocity threshold 



168 



tDrums List 



6. Preset Tone List 



38 
40 



Tone Name 



Bass brum 1 



Bass Drum 
Rrm Shot 



Snare Drum 1 
Harid Clap 
Snare Dnjm 2 



2 



45 




50 



55 
57 



65 
67 
69 



74 



79 
81 



Low Tom Tom 1 
Closed High Hat 1 



Low Tom Tom 2 



Open Hjgh Hat 2 
Middle' Tom Tom 1" 
Open High Hat 1 



Middle Tom Tom 2 



High Tom Tom 1 
Crash Cymbal 



High Tom Tom 2 



Ride Cymbal 
China Cymbal 




Cup (MuteT 



Off 



Cowbell 
Crash Cymbal 



Snare Dmrn 3 



Ride Cvmbal 
Off " 



or 



Off 




Off 



Off 
Cabasa 



"W 



Off 



Off 



Off 




Off 



High Pitch Tom Tom 2 



W 

High Pitch Tom Tom 1" 



Off 



86 
88 



91 



Bass Drum 3 



Bass Drum 4 



Snare Drum 4 



Snare Drum 5 
Snare Drum 6 




Low Tom Torn 3 
Closed High Hat 2 



Middle Tom Tom 3 



China Cvm^l 
High Tom Tom 3 
Ride Cymbal 

Off — 



IRQ 



7. Initialized Settings 



7. Initialized Settings 



For the initialization procedure, see page 147. 
■ Setup 



Parameter 
Group 


Parameter 


Value 


M.Tune 


Master Tune 


440.0 Hz 


Effect 


Chorus Sw 


On 


Reverb Sw 


On 


LCD 


LCD Contrast 


10 


5 


Common 


Local Control 


On 


SysEx Device ID 


17 


SysEx Patch Dump Sw 


Off 


Rx SysEx 


Off 


Kybd 


Rx Control Ch 


Off 


Tx Setup Ch 


1 


Tx Control Change Sw 


On 


Tx Program Change Sw 


On 


Tx Ch Aftertouch Sw 


On 


Tx Active Sensing Sw 


On 


Sound 


Rx Control Ch 


16 


Rx Timbre Change Sw 


Off 



Keyboard Patch 



Parameter 
Group 


Parameter 


Value 


Name 


Keyboard Patch Name 


Standard 


MIDI 


Tx Ch 


Set 


Tx Arpeggio Ch 


Tx 


Tx Control Ch 


Tx 


Tx Program Change # 


P.N 


EXT, CI. C2 


Ch 


Tx Ch 


Ctrl# 


Off 


E 
o 

a 
a. 


Velo 


Offset 


1 


Sensitivity 


127 


Trans ic 


Key Transpose 


-12 


Chord • 


Chord 1 


Chord Set# 


1 


Key Offset 





Retrigger Mode 


Hi 


Chord 2 


Chord Set# 


2 


Key Offset 





Retrigger Mode 


Hi 


Arpe* 


Arpeggio Type 


Up & Down 


Arpeggio Rate 


100 



•k ■■ These functions are turned Off. 



1 


1 Sound 


Patch 




Parameter 
Group 


Parameter 


Value 


Name 


Sound Patch Name 


Acoust Piano 


UJ 


Chorus 


Output Mode 


Pre Rev 


Chorus Level 


25 


Chorus Type 


Chorusi 


Delay Time 


12 


Chorus Rate 


25 


Chorus Depth 


5 


Feedback 





Reverb 


Reverb Type 


Hain 


Reverb Time 





Reverb Level 


6 


Delay PB 





Ctrl 


Prmi 


Ctrl # 


Off 


Parameter 


Timbre Level 


Prm2 


Ctrl # 


Off 


Parameter 


Timbre Level 


Prm3 


Ctrl # 


Off 


Parameter 


Timbre Level 


to 

1 

T— 


Timbre 


Timbre # 


All 


V.Rsv 


Voice Reserve 





MIDI 


Rx Ch 


1( Parts 2—6 
are Off) 


Key Range 


C-1 - G9 


Velocity Range 


1 - 127 


Rx Volume 


On 


Rx Pan 


On 


Rx Hold 


On 


Output 


Output Assign 


Rev 


Part Level 


127 


Pan 


><C Parts 2— 
6 omitted) 


RPart 


Rhythm Set # 


1 


Voice Reserve 





Rx Ch 


10 


Part Level 


127 


Level Boost 


Off 


Rx Volume 


On 






Rx Hold 


On 



170 



7. Initiaiized Settings 



Timbre 



Rhythm Set 



Parameter 
Group 


Parameter 


Value 


Name 


Timbre Name 


A.Piano 2 


Tone 


Tone # 


I" 2 


Level 


Timbre Level 


127 


Velocity Sensitivity 


+ 7 


Ch Aftertouch Sens 





Env Attack Rate 





Env Decay Rate 





Env Sustain Level 





Env Release Rate 





Pitch 


Pitch Shift Coarse 





Pitch Shift Fine 





Bender Range (Down) 


-2 


Bender Range (Up) 


2 


Ch Aftertouch Sens 





Poiy Aftertouch Sens 





Auto Bend Depth 





Auto Bend Rate 


15 


Detune Depth 


5 


Vib 


Rate 


50 


Waveform 


Tri 


Depth 





Delay Time 





Rise Time 





Modulation Depth 


8 


Ch Aftertouch Sens 





Poly Aftertouch Sens 






Parameter 


Value 


Rhythm Set Name 


Standard Set 


Bender Range (Down) 


-12 


Bender Range (Up) 


12 


Inst Bl— D7 


Tone # : Name 


Refer to 
following table 


Source Key 


Mute 


Inst Level 


31 


Velocity Sensitivity 


4-7 


Env Mode 


No Sustain 


Env Attack Rate 





Env Decay Rate 


C63 is + 2) 


Env Release Rate 





Pitch Shift Coarse 


CG3 is 12) 


Pitch Shift Fine 





Ch Aftertouch Sens 





Poly Aftertouch Sens 





Pitch Randomize 





Auto Bend Depth 





Auto Bend Rate 





Detune Depth 





Output Assign 


Refer to 
following table 


Pan 



■ Chord Set 

C C# D D# E 

Chordfl] Diatonic 



F# G G# A A# B 



1 11 t ^^^ t i "i^ t i ''^ i >^ ^ 



Cmaj7 D-moj? Dm7 Pmaj7 Em7 Fmaj7 ffmoj? G7 A'maj7 Am7 B''maJ7 am7-' 

CC"maj7) CD'majTJ CF'maj7) CA'maJT) 



Chord[2] Suspended 4th 



I 



¥=S 






Cbub4 C'sus4 DauB4 D"su84 Esus4 Fsus4 F"aga4 Gaus4 G'aus4 A»U84 B'susd B6ua4 

(A"aua4) 



171 



7. Initialtzecl Settings 



Inst 



S 



o 
en 



o 
en 



o 
-J 





Tone 


Output 




Tone # : Name 


Source Key 


Mute 


Pan 


Output 
Assign 


3S 


-1£6: 


DRUMS 


B 1 


Bass Drum 1 


off 


>< 


Drv 


-!i-^^ 


-128: 


bf^UMS 


C 2 


Bass Dr^im 2 


off 


>< 


5^ 


38 ^ 


-128: 


DRUMS 


D 2 


Snare Drum 1 


off 


>< 


Rev 


.n ^BSH 


-128: 


DRUMS 


D#2 


Hand Clao 


off 


2> 


Rev 


*«j 


-128 : 


DRUMS 


E 2 


Snare Drum 2 


off 


>< 


Rev 


A1 


-128: 


DRUMS 


F 2 


Low Tom Tom 1 


off 


6> 


Rev 




-128: 


DRUMS 


P#2 


Closed H.H 1 


A#2 


<2 


Rev 


43 i 


-128: 


DRUMS 


6 2 


Low Tom Tom 2 


off 


6> 


Rev 


-128 : 


DRUMS 


G#2 


Ooen H.H 2 


A#2 


<2 


Rev 


^^^^bL^^^H 


45 1 


-128 : 


DRUMS 


A 2 


Mid Tom Tom 1 


off 


>< 


Rev 




-128 : 


DRUMS 


A#2 


Open H.H 1 


C3#2 


<2 


Rev 


4/ 


-128: 


DRUMS 


B 2 


Mid Tom Tom 2 


off 


>< 


Rev 


-fL4HH- 


-128: 


DRUMS 


C 3 


Hi Tom Tom 1 


off 


<4 


Rev 


-128: 


DRUMS 


C#3 


Crash Cvmbal 


off 


<2 


Rev 


50 1 


-128: 


DRUMS 


D 3 


Hi Tom Tom 2 


off 


<4 


Rev 


^T-astH. 


-128 : 


DRUMS 


D#3 


Ride Cvmbal 


off 


4> 


Rev 


b<£! 


-128 : 


DRUMS 


E 3 


China Cvmbal 


off 


6> 


Rev 


KQ 


-128 : 


DRUMS 


F 3 


Cud Cmute) 


off 


4> 


Rev 




LATIN 2 


F#3 


Tambourine 


off 


4> 


Rev 


55 ^^ 


-128: 


DRUMS 


C#3 


Solash Cvmbal 


off 


>< 


Rev 


IKISHl 


-128 : 


DRUMS 


G#3 


Cowbell 


off 


2> 


Rev 


57 


-128: 


DRUMS 


A 3 


Crash Cvmbal 


off 


<2 


Rev 




-12S: 


DRUMS 


A#3 


Snare Drum 3 


off 


>< 


Rev 


bU 


-128: 


DRUMS 


B^ . 


Ride Cvmbal 


off 


4> 


Rev 


en 


2-002: 


LATIN 2 


C 4 


Bongo - H 


off 


<4 


Rev 


^RnM 


2 - 002: 


LAT 


N 2 


C#4 


BonQO - L 


off 


<2 


Rev 


62 1 2-002: 


LAT 


N 2 


D 4 


Conna (mute) 


off 


2> 


Rev 


-TJ-WSlSM. 


2-002: 


LATIN 2 


D#4: 


Conaa - H 


off 


2> 


Rev 


cw 


2-002: 


LAT 


N 2 


E 4 : 


Conpa - L 


off 


4> 


Rev 


Rc; 


2 - 002: 


LAT 


N 2 


F 4 : 


Timbale - H 


off 


<2 


Rev 




LAT 


N 2 


F#4: 


Timbale — L 


off 


<4 


Rev 


67 1 2 — 002: 


LAT 


N 2 


G 4 : 


AQoqo - H 


off 


4> 


Rev 


^KISHBT 


2-002: 


LAI 


N 2 


G#4: 


AgoQO - L 


off 


4> 


Rev 


69 1 


1-128: 


DRL 


MS 


A 4 : 


Cabasa 


off 


2> 


Rev 


^^RS^H J* — on? : 


LAT 


N 2 


A#4: 


Maracas 


off 


<2 


Rev 


1 1 


2-002: 


LAT 


N 2 


B 4 : 


Short Whistle 


oH 


2> 


Rev 


Ti 


2 - 002: 


LAT 


N 2 


C 5 : 


Long Whistle 


off 


2> 


Rev 


^^^ 


2-002: 


LAI 


N 2 


C#5: 


Vibra - Sfao 


off 


4> 


Rev 


74 1 2-002: 


LAT 


N 2 


D 5 : 


Bell Tree 


off 


4> 


Rev 


— 7-^« '/~m'/- 


LAT 


N 2 


D#5: 


Claves 


off 


6> 


Rev 


ib 


2-028: 


GUIRO 2 


A#4: 


Guiro 2 


F 5 


>< 


Rev 


77 


2-027; 


GUIRO 1 


F 5 : 


Guiro 1 


E 5 


>< 


Rev 




LATIN 2 


F#5: 


Castanets 


off 


<4 


Rev 


79 ^ }~128 : 


DRUMS 


G 5 : 


Hi Pitch Tom 2 


off 


<2 


Rev 




DRUMS 


A 5 : 


Hi Ditch Tom 1 


off 


<6 


Rev 


:~:""IKI3Hi 2 — 002: 


LATIN 2 


A#5: 


Wood Block 


off 


7> 


Rev 


o6 


2-002: 


LATIN 2 


B 5 : 


Jingle Bell 


off 


<2 


Rev 


?A i—. 1 ^ 


1-128 : 


DRUMS 


C 6 : 


Bass Drum 3 


off 


>< 


Drv 


-^^— MI-I-IB i-i9n- 


DRUMS 


C#6: 


Bass Drum 4 


off 


>< 


Dry 


86 i 1-128 : 


DRUMS 


D 6 : 


Snare Dmm 4 


off 


>< 


Rev 


— --^*^ 1-128: 


DRUMS 


D#6: 


Snare Drum 5 


off 


>< 


Rev 


oo 


}-128: 


DRUMS 


E 6 : 


Snare Drum 6 


off 


>< 


Rev 


OQ 


1-128: 


DRUMS 


F 6 : 


Low Tom Tom 3 


off 


4> 


Rev 




DRUMS 


ft®: 


Closed H.H 2 


off 


<2 


Rev 


91 ^ - 128 : 


DRUMS 


G 6 : 


Mid Tom Tom 3 


off 


<4 

^^_ — 


Rev 




DRUMS 


A 6 : 


Hi Tom Tom 3 


off 


2> 


Rev 


— HEEBl — 1 28 : 


DRUMS 


A#6: 


RrcJe Cvmbal 


off 


4> 


Rev 


sb 


2 - 002: 


LATIN 2 


B 6 : 


Native Drum - 1 


off 


<4 


Rev 


°'' ^ . ^ 


2 - 002: 


LATIN 2 


C 7 ; 


Native Drum - 2 


off 


<2 


Rev 


^•^ ^^^ y-nny- 


LATIN 2 


C#7: 


Native Drum -3 


off 


>< 


Rev 


9b 1 ■4>^a . 


ht}ll>''<^ 


D 7 : 




off 


>< 


Rev 













172 



8. Blank Charts 



8. Blank Charts 



Date 



Setup 



M.Tune 


Master Tune 


Hz 


Effect 


Chorus 


Off 


On 


Reverb 


Off 


On 


LCD 


LCD Contrast 






Common 


Local Control 




SysEx Device ID 




SysEx Patch Dump 


Off 


On 


Rx SysEx 


Off 


On 


Kybd 


Rx Control Ch 




Tx Setup Ch 




Tx Control Change 


Off 


On 


Tx Program Change 


Off 


On 


Tx Ch Aftertouch 


Off 


On 


Tx Active Sensing 


Off 


On 


Sound 


Rx Control Ch 




Rx Timbre Change 


Off 


On 1 



Rhythm Set # 



Name : 



Tone # : Name 



Source Key 



Mute 



Level 



Velocity 



Env Mode 



Env Atteck 



Env Decay 



Env Release 



Pitch Coarse 



Pitch Rne 



Ch Aftertouch 



Poly Aftertouch 



Pitch Random 



A. Bend Depth 



A. Bend Rate 



Detune Depth 



Output Assign 



Pan 



Bender (Down) 




Bender (Up) 





!nst# 



Keybord Patch 



# 



Name : 



MIDI 


Tx Ch 




Tx Arpeggio Ch 




Tx Control Ch 




Tx Program Change # 




EXT Ctrl 


Ch 




Ctrl* 




CI Ctrl 


Ch 




Ctrl# 




C2 Ctrl 


Ch 




Ctr!# 





o 


Velo 


Offset 




Sensitivity 




Trans 


Key Transpose 




Chord 


Chord 1 


Chord Set# 




Key Offset 




Retrigger 




Chord 2 


Chord Set# 




Key Offset 




Retrigger 




Arpe 


Type 




Rate 




Key Transpose 


Off 


On 


Chord 


1 


2 


Arpeggio 


Off 


On 



17?^ 



8. Blank Charts 



Sound Patch # : 



Chorus 



Reverb 



Ctrl 



Type 



Output Mode 



Level 



Delay Time 



Rate 



Depth 



Feedback 



Type 



Time 



Level 



Delay FB 



Prmi 



Prm2 



Prm3 



Ctrl# 



Parameter 



Ctri# 



Parameter 



Ctri# 



Parameter 



Date 



Name : 





Part 


1 


2 


3 


4 


5 


6 


Timbre 


Timbre # 














V.Rsv 


Voice Reserve 














MIDI 


Rx Ch 














Key Range 


- 


- 


- 


- 


- 


- 


Velocity Range 


- 


" 


- 


_ 


_ 


- 


Rx Volume 


Off. On 


Off, On 


Off. On 


Off, On 


Off. On 


Off. On 


Rx Pan 


Off, On 


Off. On 


Off. On 


Off, On 


Off. On 


Off. On 


Rx Hold 


Off. On 


Off, On 


Off, On 


Off. On 


Off. On 


Off. On 


Output 


Output Assign 














Level 














Pan 















Rhythm Part 


Rhythm Set# 




Voice Reserve 




Rx Ch 




Level 




Level Boost 


Off. On 


Rx Volume 


Off, On 


Rx Hold 


Off. On 



174 



8. Blank Charts 



Date 



Timbre 



# 



Name : 



TonB# 




"5 

> 

2 


Timbre Level 




Velocity 




Ch Aftertouch 




Env Attack 




Env Decay 




Env Sustain 




Env Reiease 





u 

.t: 

Q. 


Pitch Coarse 




Pitch Rne 




Bender Range (Down) 




Bender Range (Up) 




Ch Aftertouch 




Poly Aftertouch 




A. Bend Depth 




A. Bend Rate 




Detune Depth 





> 


Rate 




Waveform 




Depth 




Delay Time 




Rise Trme 




Mod. Depth 




Ch Aftertouch 




Poly Aftertouch 





Timbre 



# 



Name : 



Tone# 




"55 

> 

5 


Timbre Level 




Velocity 




Ch Aftertouch 




Env Attack 




Env Decay 




Env Sustain 




Env Release 





u 
D. 


Pitch Coarse 




Pitch Fine 




Bender Range (Down) 




Bender Range (Up) 




Ch Aftertouch 




Poly Aftertouch 




A. Bend Depth 




A. Bend Rate 




Detune Depth 





J3 
> 


Rate 




Waveform 




Depth 




Delay Time 




Rise Time 




Mod Depth 




Ch Aftertouch 




Poly Aftertouch 





Timbre 



# 



Name : 



Tone# 




1 

-J 


Timbre Level 




Velocity 




Ch Aftertouch 




Env Attack 




Env Decay 




Env Sustain 




Env Release 





51 


Pitch Coarse 




Pitch Fine 




Bender Range (Down) 




Bender Range (Up) 




Ch Aftertouch 




Poly Aftertouch 




A Bend Depth 




K Bend Rate 




Detune Depth 





J3 


Rate 




Waveform 




Depth 




Delay Time 




Rise Time 




Mod. Depth 




Ch Aftertouch 




Poly Aftertouch 





iTc; 



8. Blank Charts 



Date 



Rhythm Sot 



# : 



Name : 



Bender T : 





Tone 


Level 


Pitch 


Output 






Tone # : Name 


Source 


Mute 


Level 


Veio 


Coarse 


Fine 


Assign 


Pan 




35 




















o 


•?fl 












































38 1 




















":iS"»" 










































''■' 1 






















^msmi 






















43 ^^^^ 










































IT"*" 
























^r"M 








































o 


-1R 






















^ igg]^ 






















50 i 




















52 "*™ 










































Rq 






















oa BHSBBl 






















55 ^-.-^ 










































57 ^^^^^^ 
























"^T"" 








































2 


pn _ 




















ou ^^^_ 






















62 ~ 




















~ir"S" 










































RK 












































67 ^^„^ 










































69 ^*^^=™ 
























71 ^"S" 








































o 


70 






















,£. j||||||||||||j_|jj,||^ 






















^T"™ 
























tT™™ 










































■77 






















-... ..-.^^^Wi^^B 
























































































83 "5E« 








































o 


Q/I 






















— —H^H 






















86 1 




















1^^*" 










































-ii^^EIiH 












































































































■■SlEHi 






















yb 




















Q 


°p ,, 






















.^l-^E^ 






















98 



















176 



BJump 

BANKlU: 



NUMBERUI: 



BANK[2l: 



NUMBERd]: 



BANK [3]: 



NUMBER dl: 



BANK [4] : 



NUMBERS]: 



BANKfll: 



NUMBERdJ: 



BANKd]: 



NUMBERU]: 



BANK[T1: 



NUMBER[7]: 



BANKfal: 



NUMBERU: 



8. Blank Charts 



Date 



Roland Exclusive Messages 



Data Format for Exclusive Messages 



Roland's MIDI impiementatian uses the followinE data format 
for all exdusive messages (type IV) : 



Byte 


DescriDtlon 


FOH 


Exclusive status 


41 H 


Manufacturer !D CFlaland} 


DEV 


Device ID 


MDL 


Model ID 


CMD 


Command ID 


[BODY] - 


Main data 


F7H 


End of exclusive 



# Model - ID : 



# MIDI status : FOH, F7H 

An exclusive message must be flanked by a pair of status 
codes, starting with a Manufacturer- ID immediately after FOH 
(MBDI versionl.0). 

# Manufacturer - ID : 41 H 

The Manufacturer - ID identifies the manufacturer of a MIDI 
instrument that triggers an exclusive message. Value 41H 
represents Roland's Manufacturer - ID. 

# Device - ID : DEV 

The Device - ID contains a unique value that identifies the 
individual device in the multiple implementation of MIDI 
instruments. It is uaially set to OOH - OFH, a value smaller by 
one than that of a basic channel, but value OOH - IFH may 
be used for a device with multiple basic channels. 

MDL 

The Model - ID contains a value that uniquely identifies one 
model from another. Different models, however, may share an 
identical Model - ID If they handle similar data. 

The Model - ID format may contain OOH in one or more places 
to provide an extended data field. The following are examples 
of valid Model - IDs, each representing a unique model : 

OIH 

02H 

03H 

OOH, OIH 

OOH. 02H 

OOH, OOH, OIH 

# Command - ID : CMD 

The Ckimmand - ID Indicates the function of an exclusive 
message. The Command - ID formal may contain OOH in one 
or more places to provide an extended data field. The following 
are examples of valid Command - IDs, each representing a 
unique function : 

OIH 

02H 

03H 

OOH. OIH 

OOH, 02H 

OOH. OOH, OIH 

# Main data : BODY 

This field contains a message to be exchanged across an 
interface. The exact data size and contents will vary with the 
Model - ID and Command - ID. 



Address - mapped Data Transfer 



Address mapping is a technique for transferring messages 
conforming to the data format given In Section 1. It as^gns 
a series of memory - resident records — waveform and tone 
data, switch status, and parameters, for example - - to specific 
locations in a machine - dependent address space, thereby 
allowing access to data residing at the address a message 
specifies. 

Address - mapped data transfer is therefore Independent of 
models and data categories. Thb technique allows use of two 
different transfer procedures : one - way transfer and 
handshake transfer. 



# One -way transfer procedure (See Section 3 for details.) 
This procedure is suited for the transfer of a small amount of 
data It sends out an exclusive message completely independent 
of a receiving device status. 

Comiaation Diagram 



De^^ce (A) 




Device (B) 


mx OUT 


' » 


MttX IN 
MO OUT 


2 



Connection at point 2 is essential for 
procedures. (See Section 3.) 



' Request data " 



# Handshake 



transfer procedure (See Section 4 for details.) 

This procedure initiates a predetermined transfer sequence 
(handshaking) across the interface before data transfer takes 
placa Handshaking ensures that reliability and transfer speed 
are high enough to handle a large amount of data. 

Conrwctim Diagram 



Device (A) 




Device (B) 


Mm IN 

Mn> CHTT 


__L^ 


MO IN 
MO OUT 


* 2 



Connection at points 1 and 2 is essential. 

Notes on the above two procedures 

♦There are separate Command - IDs for different transfer 

procedures. 
♦Devices A and B cannot exchange data unless they use the 

same transfer procedure, share identical Device - ID and Model 

ID, and are ready for communication. 



One - way Transfer Procedure 



This procedure sends out data all the way until It stops and 
is used when the messages are so short that answcrbacks need 
not be checked. 

For long messages, however, the receiving device must acquire 
each message in time with Uie transfer sequence, which inserts 
intervals of at least 20 milliseconds in between. 



Msssage 


Command ID 


Request data 1 
Data set 1 


RQ1 (11H) 
DTI (12H) 



Types of Messages 



# Request data #1 : RQ1 C11H) 

This message is sent out when there is a need to acquire data 
from a devica at the other end of the interface. It contains data 
for the address and size that specify designation and length, 
respectively, of data required. 

On receiving an RQl message, the remote device checks its 
memory for the data address and size that satisfy the reguesL 

If it finds them and is ready for communication, the device will 
transmit a "Data set 1 (DTD" message, which contains the 
requested data. Otherwise, the device will send out nothing. 



Byte 


Description 


FOH 


Exciuslve status 


41 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


UH 


Command ID 


bbH 


Address MSB 


1 


LSB 


ssK 


Size MSB 




LSB 


sum 


Check sum 


F7H 


End of exclusive 



178 



# Data set 1 



*The size of the requested data does not indicate the number 
of bytes that will make up a DTI message, but represents 
the address fields where the requested data resides. 

fSome models are subject to limitations in data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetmnined 
address fields before it is exchanged across the interne. 

*he same number of bytes comprises addre^ and size data, 
which, however, vary with the Model - ID. 

♦The error checking process uses a checksum that provides 
s bit pattern where the least significant 7 bits are zero when 
values for an address, ^ze, and that checksum are summed. 

DTI (12H) 

This message corresponds to the actual data transfer process. 
Because every byte in the data Is assigned a unique address, 
a DTI message can amvey the starting address of one or more 
data as well as a series of data formatted in an address - 
depoident order. 

The MIDI standards inhit^t non - real time messages from 
interrupting an exdurfve one. This fact is inconvenient for the 
devices that support a "soft - through" mechanism. To maintain 
compatibility with such devices, Rdand has limited the DTI to 
256 bytes so that an excKsively long messa^ is sent out in 
separate segments. 



D»ncB (A) 



Device (B) 



Byte 



FOH 
41H 
DEV 
MDL 
12H 
aaH 



ddH 



sum 
F=7H 



Description 



Exciuaive 

Manufacturer ID CRoland) 

DB\rice ID 

Mode! ID 

Commend ID 

Address MSB 

i 



LSB 



Date 



Check sum 

End of exclusive 



«A DTI message is capable of providing only the valid data 
among those specified by an RQl message. 

*Some models are sutdect to limitations in data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into {Redetermined 
address fields before it is exchanged across the interface. 

♦The numbw of bytes comprising address data varies from 
one Model -ID to another. 

♦The error checking process uses a checksum that provides 
a bit pattern where the least significant 7 tiits are zero when 
values lor an address, siie, and that checksum are summed. 

# Example of Message Transactions 

#Device A sending data to Device B 
Transfer of a DTI message !s all that takes place. 



Dovioe (A) 



Device CB) 



[Data aat 1] ^ 

* More ttian 20m sec time Intornai, 
[Data set 1] ^ 



[Data set 1] 



IDevIce B requesting data from Device A 
Device B sends an RQl message to Device A. Checking the 
message. Device A sends a DTJ message back to Device a 



[Data set 1] -^ 

[Data set 1] ^ 

* More than 20m bbc time internal. 
[Data set 1] ^ 



[Raguest data] 



[Date set t] 



Handshake ~ Transfer Procedure 



Handshaicing is an interactive process where two devices 
exchange error checking signals before a message transaction 
takes place, thereby increasing data reliability. Unlike one - way 
transfer that inserts a pause tietween message transactions, 
handshake transfer allows mudi speedier transactions because 
data transfer starts once the reviving device returns a ready 
signal. 

When it comes to handling large amounts of data - - sampler 
wavefomu and synthesizer tones over the entire range, for 
example - - across a MIDI interface, handshaking transfer is 
more efficient than one - way transfer. 



Types of Messages 



Messes e 


Command ID 


Want to send date 


WSD C40H) 


Request date 


HOD (41 H> 


Data set 


DAT C42H) 


AcknowledQB 


ACK C43H) 


End of data 


EOD C45H) 


Communication error 


ERR C4EH) 


Rejection 


RJC C4FH) 



# Want to send data : WSD (40H) 

This message is sent out when data must be sent to a device 
at the other end of the interface. It contains data for the 
address and size that specify designation and length . 
respectivdy, of the data to be sent 

On receiving a WSD message, the remote device checks its 
memory for the specified data address and size which will 
satisfy the request. If it finds them and is ready for 
communication, the devfa:e will return an "Acknowledge 
(ACK)" message. 
Otherwise, it will return a "Rejection (RJC)" message. 



Byte 


Description 


FOH 


Exclusive status 


41 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


40H 


Command ID 


asH 


Address MSB 




LSB 


BSH 

j 


Size MSB 

[ 


\ 


LSB 


sum 


Check sum 


F7H 


End of exclusive 



♦The size of the data to be sent does not indicate the number 
of bytes that make up a 'Data set (DAT)" message, but 
represenU the address fields where the data should reside. 

♦Some models are subject to limitations in data format used 
for a single transactkin. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the Interface. 

♦ The same number of bytes comprises address and size data, 
whlcti. however, vary with the Model - ID. 

♦ The error checking process uses a checksum thai provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 



179 



# Request data 



ROD (41 H) 

This message is sent out ^len there is a need to acquire data 
frcm a device at the other end of the interface. It contains data 
for the address and size that ^lecify d^lgnatlon and length, 

respectively, of data required. 

On receiving an ROD message, the remote device checJcs its 
memory for the data address and si2s which satisfy the request 
If it finds them and is ready for communication, the devit^ will 
transmit a "Data set (DAT}' message, which contains the 
requested data. Otherwise, it will return a "Rejection (RIC)" 
messa^. 



Byte 


Descriotron 


FOH 


Exclusive status 


4IH 


Manufacturer ID (Roland) 


DEV 


Davica ID 


MDl 


Model ID 


41 H 


Command ID 


asH 


Address MSB 


! 


LSB 


ssH 


Size MSB 


i 


L 


3B 


sum 


Check sum 


F7H 


End of exclusive 



# Data set : 



■nThe size of the requested data does not indicate the number 
of bytes that make up a "Data set (DAT)" message, but 
remesents the address fields where the requested data resides. 

*Some models are subject to limitations in data fonnat used 
for a single transaction. Requested data, for example, may 
have a limit In length or must be divided into predetermined 
address fields before It is exchanged across the interface. 

*The same number of bytes comprises address and size data, 
which, however, vary with the Model - ID. 

*The error checking pnx^ss uses a checksum that pw/ides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 

DAT C42H) 

This message corresponds to the actual data transfer process. 
Because every byte In the data is assigned a unique address, 
the message can convey the starting address of one or more 
data BB well as a series of data formatted in an address - 
dependent order. 

Although the MIDI standards inhibit non - real time m^sages 
from interrupting an exclusive one. some devices support a 
"soft - through' mechanism for such interrupts. To maintain 
compatiUiity w^th sudi devices, Ridand has limited the DAT to 
256 bytes so that an excessively tone message is sent out in 
separate segments. 



Byte 


Description 


FOH 


Exclusive status 


41 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


42M 


Command ID 


asH 


AddresB MSB 




Lsa 


d 


H 


Data 


81. 


m 


i 

i 

Check sum 


F7H 


£nd of exclustva 



*A DAT message te capable of providing only the valid data 
among those ^lecified by an RQD or WSD message. 

*Some models are subject to limitations in data format used 
for a single hansaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before It is exchanged across the Interface. 

*The number of bytes compiling address data varies from 
one model ID to another. 

■*<The error checking process uses a checksum that provide; 
a bit pattern where the least slsnificant 7 bits are zero when 
values for an address, size, and that checksum are summed, 



# Acknowledge : ACK (43H) 



This message is sent out when no error was detected on 
reception of a WSD, DAT, "aid of data (EOD)". or some other 
message and a requested setup or action is complete Unless 
It receives an ACK message, the device at the other end will 
not proceed to the next (^ration. 



Byte 


Description 


FOH 


Exclusive status 


45 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


43H 


Command ID 


F7H 


End of exclusive 



# End of data : EOD C45H) 



This message is s«it out to infmm a remote device of the enc 
of a message. Communication, however, will not come to an enc 
unless the remote device returns an ACK message even thaug^ 
an EOD message was transmitted. 



Byte 


Description 


FOH 


Exclusive status 


41 H 


Manufacturer ID (Rolend) 


DEV 


Device ID 


MDL 


Model ID 


45H 


Command ID 


F7H 


End of Bxoluaivo 



# Communications error : ERR (4EH) 

This message warns the remote device of a communication! 
fault encountered during message transmission due , foi 
example, to a checksum error. An ERR message may ix 
replaced with a 'Rejection (RJC)" one, which terminates th( 
current message transaction in midstream. 

When it receives an ERR message, the sending device mas 
either attempt to send out the last message a second time oi 
terminate aimmunication by sending out an RJC message. 



Byte 


Description 


FOH 


Exclusive status 


41 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


4EH 


Command ID 


F7H 


End of exclusive 



180 



# Rejection: RJC (4FH) 

This mrasage ts sent out when there is a need to terminate 
communication by overriding the current message. An RJC 
message will be triggered when : 

■ a WSD or RQD message has specified an illegal data address 
or size. 

■ the device is not ready for communicatiwi. 

■ an illegal number of addresses w data has been detected. 

■ data transfer has been terminated by an i^rator. 

■ a communications error lias occurred. 

An ERR message may be sent out by a devtra on either side 
of the interface. Cmnmunication must be terminated immediately 
when either side triggers an ERR message. 



Byto 


EJasoHption 


FOH 


Exclusive status 


41H 


MBniriacturor ID CRoland) 


DEV 


Device 10 


MDL 


Model ID 


4FH 


Command ID 


F7H 


End of exclusive 



# Example of Message Transactions 

• Data transfer from device (A) to devloo (BJ. 



Device (A) 



Device CB) 



[Want to send data] 

[Data oat] 

[Data BBt] 



[End of data] 



[Acknowladoe] 
[Acknowledge] 
[Acknowladoe] 

[Acknowledge] 



►Error occurs while device (A) is rooeivino data from devici 
CB). 

O Data transfer from device (A) to device (B). 



Device (A) 



Device CB) 



■[Data BBt] 



[Acknowtedoe] — 

(Error) x -•- 

[CommunioBtion error] 



'[Data set] 



[Acknowledge] 



- [Data set] 
(tlie aame data 

- as above) 



2) Da\rfce (B) rejects the data re - transmitied, and 
quits data transfer. 



Ot>\Ace (A) 



Device CB) 



[Acknowledge] ___ 

(Error) x .^ — 

[Communication error}- 

(Quit) -«— 



[Deta set] 
[Dete set] 
[Rejection] 



3) Device (A) immediataly quits date transfer. 



Device (A) 



Device (B) 



[Acknowledge] 
(Error) x 
[Rejection] 



[Data set] 



[Data set] 

-^ (Quit) 



tDevice (A) requests and receives data from device (B). 



Device (A) 



Device (B) 



[Request data] 
[Acknowledge] 
[Acknowiedge] 

[Acknowledfle] 



^ 

■ m 

^ 



[Data set] 
[Data set] 

[End of data] 



RS-PCM KEYBOARD 
Model U-20 



MIDI Implementation 



Date : Sep. 2U. lyay 

Version : 1.02 



1. TRANSMITTED DATA 



• Ext control CI. C2 



Active sensing is always transmltUsd on condlUtm that Setup/MIDl/Kybcl/Tx Active 
Sensing is "On", and other raessages are transmitted in only Keytward mods, Sound 
mode or Link mode. 

■ Note event 
• Note off 



anH 



gecond 
IckH 



wH 




OH- 
IH- 
OH- 


7FH (0 
7FH (1 
FH (1- 


-127) 
-127) 
16) 



klcNote numtier 

w = Velocity 

n = MIDl channel No. 



The message is trananitted through 'lu'bd/MIDl/Tx Ch'. 

The message is transmitted through 'Setup/MIDI/kyixl/Tx Setup Ch' when 'Kybd/ 

MCDl/Tx Ch'is set as "Set". 

In arpeggio play mode, note messages of arpeggio play are transmitted through 'Kybd 
XMIDI/Arp Ch'. 

The message is transmitted thrmigh 'Setup/MIDI/Kylxl/Tx Setup Ch' when 'Kybd 
/MIDl/Arp Ch' is set as 'Tx'. 

The message is not transmitted when 'Kybd/MIDI/Arp Ch' is set as 'Off. 

"Kybd/MlDl/'Arp Ch' priors to 'Kybd/MIDl/Tx Ch' when they are set as same 

channel. 



I Note on 



Status 
9nH 



Second 
kkH 



kk = Note number 
vv = Velocity 
n^MIDI Channel Na 



Third 
wH 

OH - 7FH (0 - 127) 
IH-TFH (1-127) 
OH-FH 0-16) 



The message is transmitted through "Kybd/MIDI/Tx Ch'. 

The message is transmitted through 'Setup/MIDl/Kybd/Tx Setup Ch' when 'Kybd 

/MIDI/Tx Ch' is set as 'Set'. 

In arpeggio play mode, note messages of arpeggio play are transmitted through 'Kybd 
/MIDI/Arp Ch'. 

The message is transmitted through 'Setup/MIDI/Kybd/Tx Setup Ch' when 'Kybd 
/MIDI/Arp Ch' is set as 'Tx'. 

The message is not transmitted when 'Kybd/MIDI/Arp Ch' is Mt as 'Off. 

'Kybd/'MIDI/Arp Ch' priors to 'Kybd/MlDi/Tx Ch' when they are set as same 

chaimeL 

The detected velocity is converted into the transmitted velocity (wH) which is within 
the range specified in Kybd/'Per^oml/Velo/ Velocity Range. 



■ Control change 
• Modulation depth 



status 
BnH 



Second 
OIH 



w = Modulation depth 
n = MIDI channel No. 



• Hold 
BnH 



Second 
40H 



w = OOH (0) : Off 
w = 7FH (127): On 
n «> MIDI channel No. 



TtM. 
wH 

OOH - 7Fh (0 - 127) 
OH-FH (1 - 16) 



Third 

wH 



OH - FH (1 - 16) 



KlH 



gerond 
CCH 



ccH ■= control number 
wH-conttol value 
n = MIDI runnel Na 



Ttiird 
wH 

OH - 5H (0 - 5), 7H - IFH (7 - 31). 40H - 6FH (64 - 95) 
OH - 7FH (0 - 127) 
OH-FH (1-16) 



Control number can be asrigned to Ext control, CI and 02. 

The message is not transmitted when 'Setup/MID1/Kyt)d/Tx Ckmtrol Change is set 

as 'Off. 

The message is tiBnsmitted through 'Kybd/M!DI/Tx Ch'. 

The message is transmitted through 'Setup/MIDl/'KybdyTx Setup Ch' when 'Kybd 

/Mmi/Tx Ch" is set as 'Set'. 



I Program change 



sta te s 
CnH 



5 ff??nd 
PPH 



pp = Progiam number OOH - 7FH (0 - 127) 
n = MIDI channel Na OH - FH (1 - 16) 

Transmits through 'Kybd/MIDI/Tx Ctrl Ch" when change keyboard patch on the 

panel. 

Program idiange message Is transmitted when [Part^] button is pressed in edit page 

of pn%ram change number. 

The message is transmitted through 'Setup/MIDI/Kybd/Tx Setup Ch' when 'Kybd 

/MIDI/TX Ctri Ch' is set as 'Set'. 

The message is transmitted through 'Kybd/MIDl/Tx Ch' when 'Kybd/MlDiyTx Ctrl 

Ch' is set Bs 'Tx'. 

Transmitted program number is specified In Kybd/MIDI/Tx Pgm#. 

Transmits keyboani patch number when "Kybd/'MIDl/Tx Pgm#' is set as 'P.N'. 

But, the message Is not tranMnitted when 'Setup/MIDlXkybd/Tx Program Change' 
is set as 'Off or "Kybd/MIDI/Pgm #' is set as 'Off. 



I Channel aftertouch 



S t g t us 
DnH 



Second 

vvH 



W-0-7FH (0-127) 
n « MIDI diannel No. 



OH-FH (1-16) 



The message is transmitted through 'Kybd/MIDI/Tx Ch'. 

The message is transmitted through 'Setup/MID!/Kybd/Tx Setup Ch' when 'Kybd 

/MIDI/Tx Ch' is set as 'Set'. 

The message is not transmitted when 'Kybd/MIDi/Tx Qi Aftertouch' is set as 'Off. 



I Pitch bender change 



S tatus 
EnH 



Secopd 
IIH 



II = Lower pitch bender value 
mm - Upper pitch bender value 
n = MIDI channel No. 



Third 
mmH 

OOH - 7FH (0 - 127) 
OOH - 7FH (0 - 127) 
OH - FH (1 - 16) 



The message is transmitted through 'Kybd/MIDl/Tx Ch'. 

The message is transmitted through 'Setup/MIDI/Kybd/Tx Setup Ch' when "Kybc 

/MIDI/Tx Ch' is set as 'Set'. 



■ Exclusive 

Status 

FOH : System exclusive 

F7H : EOX (&id of Exclusive) 

A set of various parameter is transmitted, and received using MIDI Exclusive messages 

Refer to section 3 and 'Roland Exclusive Messages' for details. 



1R9 



I Active sensing 



• Pan 



status 
FEH 

Transmitted for cdwcldiig MIDI connection between U - 20 and external equicmient. 

This message is always transmitted on condilitm that 'Setup/MIDI/Kybd/Tx Active 
Sensing' is set as 'On'. 



2. RECOGNIZED RECEIVE DATA 



This message is ahvays recognized except for ROM play. 

■ Note event 



I Note off 



^tatus 

SnH 

9nH 



Second 

kkH 

IcIcH 



kk = Note number 

w = Velocity 

n = MIDI channel No. 



Third 

wH 

OOH 

OH - 7FH CO - 127) 
ignored 

OH-FH (1-16) 



The message is recognized through 'Sound/Part/MIDI/Rx Ch', 'SoundXRPart/Rx 

Ch'. 

The message is recognized through "Sound/'Part/MIDI/'Key Range'. 



Status 
BnH 



Second 
OAH 



w - OH - 7FH (0 - 127) 
n = MIDI channel No. 



Third 
wH 



OH-FH (1-16) 



The message is recognized through 'Sound/Part/MIDI/Rx Oi'. 

The message is through 'Sound/Part/Output/Pan', but range are changed from 7 

to <7. 



• Hold 

Status 
BnH 



Second 
40H 



w « OH - 3FH (0 - 63) : Off 
W = 40H - 7FH (64 - 127} : On 
n = MIDI channel Na 



Third 
wH 



OH - FH (1 - 16) 



The message is rerognized through 'Sound/Part/MIDI/Rx 0\'. 'Sound/R.Part/R 
Ch'. 



» Sound control parameter 1 



Status 
BnH 



Second 
ccH 



Third 
wH 



• Note on 



Status 
BnH 



S eoffld 
kkH 



kk » Note number 

w ■= Velocity 

n = MIDI channel No. 



Third 
wH 

OH - 7FH (0 - 127) 
1H-7FH (1-127) 
OH - FH (1 - 16) 



The message is recognized through 'Sound/Part/MIDI/Rx Ch'. 'Sound/RJ'art/Rx 

Ch'. 

Note number is reoagnized through 'Sound/Part/MIDI>^ey Range'. 

Note velocity is recognized through 'Sound/Part./MIDI/Ve!o Range'. 



CcH = OH - BH (0 - 5), 7H - IFH (7 - 31), 40H - 5FH (64 - B5) 

wH ■= (Hi - 7FH CO - 127) 

n » MID! tunnel Na OH - FH (1 - 16) 

The message is recognized thrmagh "Setup/MIDI/Sound/Rx Control Ch', 
'Sound/Part/MIDI/Rx CtC and 'Sound/RPart/Rx Ch'. 

Change the number through 'Sound/Ctrt/PrmlAS «'. 



Third 
WH 



• RPN LSB 




Status 


Second 


BnH 


64H 



I Polyphonic aftertouch 



Status 

AnH 



Second 
kkH 



kk = Note number 

w = OH - 7FH (0 - 127) 

n = MIDI channel No. 



Third 
wH 

OH - 7FH (0 - 127) 

OH-FH (1-16) 



The message is recognized through 'Sound /Part/MIDI/Rx Ch', Sound/R.Part/Rx 

Ch'. 



■ Control change 
• Modulation depth 



status 
BnH 



Second 
OIH 



w = OH - 7FH (0 - 127) 
n-'MIDl channel No. 



Third 
wH 



OH-FH Cl - 16) 



The message is recognized through 'Sound/Part/MIDI/Rx Ch', "SoundyR-Part/Rx 
Ch'. 



(Volume 



Status 
BnH 



S eco , [icl 
07H 



W - OH - 7FH CO - 127) 
n = MIDI channel No. 



Third 
wH 



OH - FH CI - 16) 



The message is recognized through 'Sound/Part/MIDIXRx Ch', 'Sound /RPart/Rx 

Ch'. 

The value (wH) corresponds to 'Sound/Tart/'Gutput/Lever. 



w » LSB of the param^er number eontrcriled by RPN 
n ■= MIDI channel Na OH - FH (1 - 16} 



• RPN MSB 

States Second 

BnH 65H 



Third 
wH 



w = MSB of the parameter number controlled by RPN 
n =■ MIDI channel Na OH - FH (1 - 16) 

Using MIDI RPN. parameters can be changed by Control change messages. 

RPN MSB and LSB specify the parameter to be controlled, while Data entry show 

the parameter value. 

Master fine tune and Bender range are controllable by RPN on U - 20. 

HPN Data entry CoBoents 

> BB i,^B 

OOH OOH vn Bender range 

w 

USB LSB 

OD Ignore cent 

OC iBiore IZDO cent 

OD 1 Blare 

The message is recognize through *Sound/Part/Rx Ch". 'Sound/R-Part/Rx Qi'. 

MSB LSB 

OOH DIH wH Master fine tune 

w 

tISB LSB 

ZO OD -50 cent 

40 00 cent 

BO 00 +50 csit 

The message is recognized through 'Setup/MIDI/Sound/Rx Control Ch'. 



Ift.-^ 



I Reset all controllers 



»Alt notes off 



Status 
BnH 



79H 



OOH 



n = MIDI channel Na OH - FH CI - 16) 

When Reset all contrailers is recognized, each of the controllers Is set as follows. 



Modulation 
Holdl 

Pitch bender 
Oiannel Aflertouch 
Polyphonic Aflertouch 



(min) 

(off) 

+/- (center) 

(min) 

Cmin) 



The message is recognize through 'Soond/Part/M!DI/RK Ch", "Sound/TtPart/Rx Ch". 



I Program change 
I Patch/Timbre change 



Status 
CnH 



Second 
PPH 



pp = Program change number 
n ■= MID! channel Na 



OH - 7FH (0 - 127) 
OH-FH (1-16) 



Case of Patch change 

pp = 0H-3FH (0-63) -Patch #111-188 

pp » 40H - 7FH t64 - 127).-Patch # CU - CSS 

(The message will be ignored if no RAM CARD is inserted.) 

Case Timbre change 

pp = 0H-7FH (0-127) -Timbre # All - B8B 

(The Timbre is selected from the same media (Internal or RAM CARD] as Sound 

patch.) 

The Timber change is recognized through "Sound/'PBrt/MIDIXRx Ch". 

The Timbre change is not recognized through 'Setup /'MIDI/Sound/Rx Timbre 

Change' is set as 'Off. 

The Patch change is recognized through 'Setup/MIDI/Sound/Rx Control Ch'. 
The Patch change is not recognized through 'Setup/MIDI/Sound/Rx Control Ch' Is 
set as 'Off. 
The Program change is not rea)gnized Edit mode or ROM ptay mode. 



BnH 



Sectmd 
7BH 



n = MIDI channel Na 



Third 
OOH 

OH - FH (1 ■- 16) 



When All notes off Is recognized, all the notes which have been turned on by MIDI 
Note on message are turned oft 

The message is recognized through 'Sound/Part/MIDI/'Rx Ch', 'Sound/RPart/Rx 
Ch'. 



• Omni off 






Status Second 
BnH 7CH 


Tftfrd 
OOH 




n ■= MIDI diannel Na 


OH - FH (1 - 


-16) 



Recognized as All notes off only. 

The U - 20 stays in Mode 3 ( Omni off. Poly ). 



I Omni on 



Status 
BnH 



7DH 



Third 
OOH 



n^MIDI channel NaOH~FH (1-16) 

Recognized as All notes off only. 

The U - 20 stays in Mode 3 { Omni off. Poly ). 



>Mono 



status 

BnH 



7EH 



mm = Mono channel range 
n = MIDI channel Na 



Third 
mmH 

i^ore 

OH - FH (1 - 16) 



Recognized as All notes off only. 

The U - 20 stays in Mode 3 ( Omni off. Poly ). 



I Channel aftertouch 



status 
DnH 



Secon d 
vvH 



w - OH - 7FH (0 ~ 127) 
n = MIDI channel Na 



OH -■ FH (1 - 16) 



The message is recognized through 'Sound/Part/MIDI/Rx Ch', "Sound/RPart/'Rx 
Ch'. 



I Pitch bender 



Status 

EnH 



Second 
IIH 



Third 
mmH 



U ■■ Lower Pitch bender value 
mm = Upper Pitch bender value 
n <= MIDI channel Na 



OOH - 7FH (0 - 127) 
OOH - 7FH (0 - 127) 
OH-FH (I- 16) 



The message is recognized through 'SoundXPart/MIDI/Rx Oi", 'SoundXR-PartyRx 
Ch'. 



• Poly 

Status 
BnH 



Second 
7FH 



n = MIDI channel Na 



Third 
00 

OH - FH {I - 16) 



Recognized as All notes off only. 

The U - 20 stays in Mode 3 ( Omni off. Poly ). 



■ Exclusive 

Status 

FOH : system exclusive 

FTH : BOX (End of Exclusive) 

A set of various parameter is transmitted, and received using MIDI Exclusive messages. 
Refer to section 3 and 'Roland Exclusive Messages' for details. 

The message is not recognized through 'Setup/MIDl/Common/Rx SysEx' is set as 

'Off. 

Recognized through 'Setup/MIDI/Common/Device ID'. 



! Modes 



• Local control 




Status Serand 
BnH 7AH 


Third 

wH 


w - OOH - SFH (0 - 63) 
W = 40H - 7FH (64 - 127) 


:Off 

:0n 



The message is recognized through 'Setup/MIDI/Kybd/Rx Control Ch'. 

The message is ignored through 'Eetup/MIDI/Kybd/Rx Control Ch" is set as 'Off. 



■ Active sensing 

Status 
FEH 

Once receiving this message, the U - 20 expects to accept status or data In sequence, 
at last within 300 msec intervals. 

If the unit fails to receive a message 300 msec after previous one. It judges there 
is a problem somewhere in MIDI path, muting the current sound and setting each of 
controllers as below, then stopping 300 msec - Interval monitoring of incoming signal. 



184 



3. EXCLUSIVE COMMUNICATIONS 



U - 20'5 exclusive map is roughly divided into two area, Bulic - dump area and Individual 
parameter area. 

Bulk -dump ar^ is suited for dumtnng a set of parameters awing to its hi - speedness, 
while Individual parameter area is suited for controlling each parameter. 



■ Device ID 

The message is transmitted or received throush 'Setup/MIDI/Common/Deviffi ID'. 



■ Model !D 

Model- ID # in the exclusive message : 2BH 

■ Bulk dump 

When U - 20 is transmitter, Panel operation or MIDI Exclusive data requestl. 
U - 20'5 bulk - dump follows the rules shown below. 

1. One byte data read from U - 20's internal memory Is transfared after it is divided 
into two ( upper 4 bits and lower 4 bits ). 

For example, OABh wni be divided into OBh and OAh ( lower first ). 

2. In the case of sending 1 packet of exclu^ve message, 64 bytes of internal data 
will be transfared in 128 bytes. 

However, the last 1 packet to be sent may get fractional according to the amount 
of data to be read from internal memory. 



Therefore, contents of bulk -dump can easily be known from the structure of internal 
memory's data. 

[Tablel] - [Tablel23 are maps of internal memory, not maps of MIDI. 

Transformation must be considered for address and data. 

The first address to be read for Bulk - dump is noted 0. 

If certain bits of 1 byte data have meanings individually, their bit numbers are also 

noted. 

Bits that ere; not specified are to be recognized as " -" (reserved). 

Basical value for data noted as "reserved" is 0. 

As for values and display, refer to the exirianation of Individual parameter area. 
Explanation is common between the two. 

However, some of the Set up parameters cannot be controlled individually. Those kinds 
are explained here. 



■ Transmit 

Exclusive messages are transmitted under following conditions. 



1) Patch dump 

When switching keytxiard patch in play mode, all of temporaly keyboard patch and 

temporary chord 1, 2 is transmitted as bulk - dump. 

When switching keyboard patch in play mode, all of temporary sound patch patch, 
temporary timbre and temporary rhythm setup is transmitted as bulk - dump. 

When switching keyboard patch in rink mode, all of noted above is transmitted as bulk 
- dump. 



2) Edit parameter dump 

Value of parameter currently being edited can be transmitted by pressing [ENTER]. 
However, parameters that are not supported by exclusive message will not be 
transmitted 

3) Bulk dump mode 

Transmit as follows. 

Data/Bulk/T«np : All, Keyboanl Patch, Chordl, Chord2, Sound Patch, Timbre [1]- 
[6], Timbre All, Rhythm Setup 

Data/Bulk/lnt : All, Setup, Keyboard Patcii, Chord, Sound Patch, Timbre, Rhythm 

Setup 



Data/Bulk/Card r 



RAM Card All 



■ Recognized receive data 

This message is always recognized except for ROM play. 

■ Parameter address map 

address DTI RQI ( * ...available) 

[ Bulk Diap Area ] 

OD 00 00 * * Setup Henry 



OB 
00 01 00 * * Keyboard Patch Teip 



00 02 00 t t Chordl Tesp 

03 GF 
00 04 00 * * ChordZ Teip 



05 5F 
OO OB 00 * » Sound PatcJi To© 

07 IF 
DO 10 00 * * TIabretO Teip 

10 3F 
00 n 00 t t Tiibre[Z] Tap 

I! 3F 
00 U 00 * * TtBbre[3] Teap 

!Z 3F 
DO 13 00 * * TtBbreU] Tesp 

13 3F 

OO 14 00 » » Tlibretfi] Teip 

14 3F 

DO IG 00 * * TIabre[E] Tesp 

15 3F 

00 20 00 t * BhyttsB Setup Teip 

2C IF 

01 00 00 » ) Ke)1»ard Patch 

: 1-11... C-BB 
3F 7F 

02 00 00 ) * Tiibre 

: l-An...C-Ba8 
TF 7F 

03 00 00 * t Sound Patch 

: |-lI...C-a8 

04 IF 7F 

05 00 00 ) • RhytbD Setup 

: I-BI...C-H4 

61 7F 

06 00 00 * » Chord Set 1-8 

: [-1...C-B 

IB 7F 
08 DO 00 » * BAUCard Alt 

OB 7F TF 



00 DO OCH Bytes [Table 1] 
{Size of Exclusive Address Hap) 

OD 00 40H Bytes [Table 2] 

00 01 EOH Bytes [Table 3} 

OD 01 GOfl Bytes 

00 01 2DH Bytes [Table 4} 

00 DO 40H Bytes [Table S] 

00 DO 4011 Bytes 

00 00 4011 Bytes 

00 DO 40H Bytes 

00 00 40H Bytes 

00 DO 40H Bytes 

00 OC 20H Bytes [Table 0] 
DO 40 OOH ^tes [Table 7] 

01 00 OOB ^es [Table S] 
01 20 OOH Bytes [Table 9] 
00 02 OOM Bytes [Table 10] 
00 IC OOH Bytes [Table 11] 
04 00 OOH Bytes [Table IZ] 



[ Individual Parameter Control Area ] 

Teaporary area : Keyboard Patch. Qiord, Sound Patch. Tiobre, Rhytbs Setup 



4) Recognize RQI 

When receiving RQI (refer to Roland exclusive format), parameter corresponding to 

the address is transmitted. 

RQI for certain parameters is ignored. 

U-20 can not send discontinuous blocks by one RQl. 



10 00 DO t * Setup 



02 
ID 01 00 t * Keyboard Patch 

2D 
ID 02 DO t * Chordl 



77 
10 03 DO * » ChordZ 



77 
10 04 OO * * Sound Patch Coraon 



00 00 03H Bytes [T^le 13} 



00 00 2EH Bytes [Table 143 



00 00 7B!I Bytes [Table 15] 



DO OD 7BH Bytes 



DO 00 2AH Bytes [Table 16] 



185 



2i 

10 04 6D » * Sound Patch Hhytlii Part 

66 
10 05 00 t • Sound Patch Parti 

PC 
10 05 10 * * Sound Patch PartZ 

IC 

10 05 50 * • Sound Patch FartG 

5C 
10 10 00 * * TiBhre[]] 

31 
10 11 00 * * Tiibreta] 

31 

10 15 00 * * TlBbre[6] 

31 
n 00 00 f * Btiyths Setup Conon 

13 
a 23 00 * « Rhythi Setup Inst=Bl 

13 
U 24 00 * * ShytliB Setup !nst-=C2 

13 

11 B3 00 » » RhythB Setup [iist«D7 

13 
[ node Dianees ] 
60 00 00 * * Play Mode Chanse 

05 

[Table 1] Setup Mamorv 



00 00 29a Bytes [Tabie 17] 



DO 00 OAH Bytes [Table 16] 



OO 00 OAH 



OD 00 OAB Bytes 



00 DO 32H Bytes [Table 18] 



00 DO 32S Bytes 



00 00 321! Sytes 



DO 00 ZOH Bytes [Table 20] 



00 00 20H Bytes [Table 21] 



00 DO 20H Bytes 



00 00 2DH Bytes 



00 00 OGU Bytes [Table 22] 



[Table 2] Keyboard Patch Temporary 



Iteiory Offset 
Acblress 



Description 



00 00!! 



00 Q2H 



00 US 



bit E-F 

bit D 
bit C 
bit 8-B 
bit 0-7 

bit F 
hit E 
bit D 
bit B-C 
bit 7 
bit 6 
bit 6 
bit 0-4 

bit E-F 
bit D 
bit B-C 
bit 7 
bit 5-6 
bit 0-4 



Chorus Sw {0...1 : Off.. .On) 

Reveit Sw {D...1 : Off... On) 

LCH Contrast {0...15 : 0...15) 

Master Tune {0. . . 255 : 427. 4. . . 452. a) 



local Ctrl Sw 
Patch DuBp S« 
Kybd Active Sensing S» 
Kybd Rx Ctrl Channel 
Kybd Oiaimel After S» 
Kybd Pee Change S« 
Kybd Tx Ctrl Change S« 
Kybd Tx Setup Channel 



{D...I : Off.. .On) 
(0...1 : Off.. .On) 
(0...I: Off.. .On) 
(0...16 : 1... 16. Off) 
Off... On) 
Off... On) 
Off... On) 
; 1.,.16) 



CD...1 : 
t0...1 : 
(D...1 : 
(0. . . 15 



CoMun Bx Exclusive S« (0...] : Off.. .On) 
Device ID {0...31 : I.. .32) 

Sound Hx TiBbre Chan^ Ss (0...! : Off... On) 



Sound Ri Ctrl Channel 



{0...16 : 1... IB. Off) 



Total size = OBH (Size on Meaory) 



Heaory Offset 
address 



Description 



DO OOH 
00 OBH 
OD OCH 

00 DEH 

DO 10B 
00 12B 
00 14H 
00 IGH 

OD IBH 



bit 0-7 



naae (ASCII) 



bit F 


Transpose 


bit A-E 


Tx Ctri Channel 


bit 5-9 


Tx Arpe Channel 


bit D-4 


Tx Qiannel 


bit F 


CZ TxCh 


bit 6-E 


C2 Ctrl # 


bit 7 


CI Tx Di 


bit 0-6 


CI Ctrl # 


bit B-F 


Tx Pop S 


bit 7 


Ext TxCh 


hit 0-6 


Ext Ctrl » 


bit E-F 


Key tJode 


bit 7-D 


Arp Hate 


bit 0-6 


Transpose 


bit E-F 


Arp^W 


bit 7-D 


Velocity Offset 


bit 0-6 


Veioclty Sens 


bit A-F 


- 


bit e-9 


Betrig itoie 1 


bit 7 


ArpeESio 


bit 4-G 


Qiord Set # 1 


bit D-3 


Choiti Offset ] 


bit A-F 


- 


bit a-9 


BetriE Uode 2 


hit 7 


- 


hit 4-6 


Qiord Set # 2 


bit 0-3 


Chord Offset 2 


Total size ■ 2DII 





[Table 3] Chordi, 2 Temporary 



HeBory Offset 
address 



Description 



00 OOH 
00 OBH 



00 OCH 
OD ODH 



00 IBH 
00 SBH 



hit 0-T 



bit 0-7 
bit 0-7 



naie (ASCII) 



interval-1 of "C" {aOh " Off) 
lnterval~2 of 'C" 



bit 0-7 Interval-l of "C*'{S01i = Off) 
hit 0-7 Interval-B of "B" (BOh = Off) 
Total size = 70H 



[Table 4] Sound Patch Temporary 



UeBory Offset 
address 



Description 



00 OOH 
00 OBH 
00 OCH 

OD OEH 

00 lOH 



bit D--7 



hit B-F 


hit 5-A 


hit 5 


hit 0-4 


bit D-F 


bit 7-C 


bit E 


bit 0-5 


bit B-F 


bit 5-A 



NaBe 



Chonis Depth 
Chorus level 

Chorus Bate 

Chorus Type 
Chorus Feedback 

Hev/Delay TiBe 

Delay Feedback 



186 





bit 0-4 


Chorus Delay Tlse 


00 IZH 


bit F 


Chorus Out Kode 




hit C-E 


Eev/Delay lype 




hit B 


- 




hit B-A 


Bev Pre Delay Tiae 




bit 5 


- 




bit 0-4 


Eev/Delay Level 


00 1411 


hit D-F 


- 




bit 8-C 


Paraneterl 




bit 7 


- 




hit 0-B 


Ctrl » I 


00 IBH 


bit D-F 


- 




bit B-C 


Paraseter2 




hit 7 


- 




bit 0-B 


Ctrl t 2 


OO IBH 


hit D-F 


- 




bit B-C 


Paraieter3 




hit 7 


- 




bit 0-B 


Ctrl S 3 


00 lAH 


bit F 


- 




hit E 


RX VolUBfi 




hit D 


Rx Hold 




bit B-C 


Bhyths Part Channel 




hit 7 


- 




bit S-6 


EhytlB Setup # 




bit 0-4 


fihyttiD Part Voice Reserve 


DO ICH 


bit B-F 


- 




hit 7 


EhythB Part Level Boost 




bit 0-B 


BhytliB Part Lerol 


Part i-b 




Heaory Offset 






address 


Description 




00 lEK 


bit F 


. 




bit D-E 


Output ASBlBl 




bit B-C 


Voice Beserve 




bit 7 


Kx Voluse 




bit 0-6 


TUbre # 


00 20K 


hit C-F 


Panning 




bit 5-B 


Part Level 




hit 0-4 


Receive Channel 


DO 22K 


bit F 


in Pan 




bit B-E 


Key BanEG Bl 




bit 7 


Hi Bold 




bit 0-B 


Key Bange Low 


00 24H 


bit F 


- 




bit B-E 


Velo Bange HI 




bit 7 


- 




bit 0-6 


Velo Bange Low 




Total size = SOH 





(off. 1-16) 



[Table 5] Timbrel. 2, 3, 4. 5. 6 Temporary 



Offset 






address 


De^riptlon 




00 ODH 


bit 0-7 


Naae 


DO OBH 






DO OCH 


bit C-F 


Detune Depth 




bit 7-B 


Tone Kedla 




bit 0-6 


Tone S 


DO OEB 


bit F 


- 




bit B-E 


TlEbre Level 




bit 4-7 


Level Ch AftertDuch Sens 




bit 0-3 


Uvel Velo Sens 


DO lOH 


bit C-F 


Env Release 




bit a-B 


Env Sustain 




bit 4-7 


Env Decay 



00 12H 



00 14H 



00 IBB 



00 m 



00 IAS 



00 ICH 



hit 0-3 


Env Attack 


bit E-F 


- 


bit B-D 


Pitch Shift Coarse 


bit 7 


- 


hit 0-B 


Pitch Shift Fine 


hit E-F 


- 


hit 9-D 


Auto Bend Depth 


hit 6-B 


Bend Range Upper 


hit 0-4 


Bend Range Loner 


hit E-F 


- 


bit A-D 


Auto Bend Rate 


hit B-fl 


Pitch Qi Aftertauch Sena 


hit 0-4 


Pitch Poly AftertoutSi Sens 


hit C-F 


Vlb Depth 


bit a-B 


Vlb Delay 


bit 4-7 


Vlb Ifeidulatlon Depth 


bit 0-3 


- 


bit C-F 


- 


bit B-B 


Vlb Waveforai 


bit 6-7 


- 


bit 0-5 


Vlb Rate 


bit C-F 


Vlb Poly Attertouch Skis 


bit 8-B 


Vlb Oi Aftertouch Sens 


bit 4-7 


- 


bit 0-3 


Vlb Rise Tlae 


Total size ' 20H 





[Table 6] Rhythm Setup Temporary 



Offset 
address 



Description 



00 OOH 






bit 0-7 


Naie 


DD OBH 










00 OCH 






bit 9-F 
bit 5-8 
bit 0-4 


Bender Range Upper 
Bolder Range Lower 





Inst 


"Bl" 


■ - -07- 




Offset 










address 




Description 





00 OEH 



00 lOH 



00 1211 



00 14H 



DO IBH 



00 lEB 



bit C-F 
bit 7-B 
bit 0-6 

bit C-F 
bit 7-B 
bit 0-6 

bit F 
bit A-E 
bit 6-9 
bit 0-4 

bit C-F 
bit B-B 
bit 4-7 
bit 0-3 

bit F 
bit 8-E 
bit 7 
bit 0-6 

bit F 
hit B-E 
hit 9-A 
bit 4-fl 
bit 0-3 

Total size ■■ 31011 



Detune Depth 
loae Ifedla 
Tone # 

Auto Bend Rate 
Pitch Offset Coarse 
Pitch Offset Fine 

Env Mode 

Pitch Ch Aftertouch Sens 
Pitch Po!y Aftertouch Sens 
Auto Bend Depth 

Env Release 
Env Decay 
Env Attack 
Level Velo Sens 



Hute Inst 
Source Key 



Pitch Randontze 
Out Asgn 
Out Level 
Panning 



187 



[Table 7] Keyboard Patch 111 -C88 



Offset 

address 



Description 



Sale as teiporary Keyboard area. 
Total size = ZOOOH 



[Table 8] Timbre IA11 -CBB8 



Offset 
address 



Description 



Saie as teiporary Tlibre area. 
Total size = 200DH 

[Table 9} Sound Patch 111 -CBS 



23 t 




24 * 




25 * 




26 * 




27 * 




ZB * 




ZB * 




2A * 




2B « 




2C » 




2D * 




ZE * 




ZF * 




3D * 





Offset 
address 



Description 



Saie as teoporary Sauiuj Pa^ area. 
Total size ' 5000E 

[Table 10] Rhythm Setup II - C4 



Offset 
address 



Description 



Saie as teiporary Rtiyttu Setup area. 
Total size = IBSOH 



[Table 11] Chord Set 11 -C8 

Offset 
address Description 



Saie as teiporary Chord Set area. 
Total size = 70DH 



[Table 12] RAM Card All 



IF » » Tl Ct Ctrl Ti Ch (Q...1 : Ti Ch.Tx Ctrl C!i} 

20 * t Tx CI Ctrl e (0...B3 : no...S.7...3],64...g5,orf) 

21 * * Tj C2 Ctrl TiCh (0...1 : TxCh.Tl Ctrl Ch) 

22 * * Tx C2 Ctrl I (0...63 : OD. . . 5, 7. . . 31. Bi. . . B5. Of f) 



Xey Velocity Offset (1...I27 : 1...127) 
Key Velocity Sais (0...127 : 0...127) 
Key Transpose (2B. . . IQO : -36. . . tSE) 
Chord Set 1 # (0...7 : 1...8) 
Key Offset ! (G...11 : O...II) 
HetrlgHode 1 (0...2 ; Off.LoK.Hi) 
Type (0...3 : Up, Down, Up-dom, Randoi) 
Bate {0...127 : 0...127) 
Key Transpose (0-,.l : Off... On) 
Key liode {Q...2 : Off,Chordl,Z) 
Arpeggio {0...1 ; Off. On) 
Chord Set 2 # (0...7 : t...B) 
Key Offset 2 {Q...11 : O.-.H) 
BetrigUode 2 {0...2 : Off, Low, U!) 



Total size ■ DO DD 31!! 

[Table 15] Chord 1. 2 Parameter CIndividuat) 

address DTI BQl 

ID 02 DD * t Ctiord Naiel Lower 4bSt 
01 * * Chord Haiel Uner 4bit 

17 * * Chord NaielZ Upper dblt 

IB * « Chord Tonel Interval "C (1...127 : Off. -B3...t63 (seal) ) 
19 * « Chord ToneZ Interval 'C 

U t * Chord Tonel Interval 'Ct' 

77 * * Chord ToneB Interval "B" 

10 D3 DO ♦ * ChordZ Indivltoal IZObytes 

77 

Total size = 00 DO 78H 

[Table 16] Sound Patch Parameter (Individual) 

address DT! RQl 

10 04 00 * * Patcti Naiel lower 4blt 
01 * * Patch Naiel Upper 4blt 



17 t 



Offset 
address 



Description 



Ssie as teiporary RAM Card all area. 
Total size =■ SDOOi! 

[Table 13] Setup Parameter (Individual) 



address DTI BQl 

10 DO OD * * Chorus Sw 

01 * * Beverb Sw 

02 * * LCD Contrast 



( 0...1 : Off.. .On ) 
( 0. . . 1 : Off. . , On ) 
( 0...I5 : 0...16 ) 



IS * 




19 * 




lA * 




IB t 




IC * 




ID * 




IE * 




IF » 




ZO t 




21 » 




Z2 * 




23 t 




24 * 





Total size = 00 00 03H 



[Table 14] Keyboard Patch Parameter (Individual) 

address DTI BQl 

10 01 00 * * Patch Naiel Lover 4bit 

0] t * Patch Naiel Upper 4blt 

17 * * Patch Naiel2 Upper 4blt 

18 t « Ti Pgi « Lower ibit (0...129 : 001... IZB, P.N. Off) 

19 » t Tx Pgi » Upper 4blt 

lA * * Ti Channel (0, . . 16 : 01. . . 16, Set) 

IB * * Tx Arpeggio Qiannel {0...17 : 01... 16, Set, Tx) 

IC * t Tx Ctrl Channel (0.,.I7 ; 01... 16, Set, Tx) 

ID t ♦ Tx Ext Ctrl Tx Ch (0...1 : Tx Ch.Tx Ctrl Ch) 

IE * * Tx Ext Ctrl # (0...B3 : 0D...5,7...31,B4...95,Off} 



ZG 


) 


* 


ZB 


t 


* 


27 


t 


t 


2B 


t 


* 



Patch NbkIZ Upper 4b!t 

Chorus Type (0...4 : QiorusI,Chorus2,FB-Chorus,FlBnger,Shord Delay) 

Chorus Out Hode (O.-.l : Pre Rev, Post Bev) 

Chorus Level {0...31 : D...31) 

Chorus Delay (0...31 : D...31) 

Chorus Bate (D...31 : 0...3i) 

Chorus Depth (0...31 : 0...3!) 

Chorus FeedtBCk (1...63 : -31.. .+31) 

Beverb Type 

(0...7 : BoDBl,Rooi2,Rooi3,Ualll,KBll2,Gate,Delay, CrossDelay) 

Beverb TIM {0...3! : 0...31) 

Reverb Level (0...31 : 0...31) 

Reverb Delay Feedback (0...3! : D...31) 

Parail S (00... 5, 7... 31, 64... 95. Off) 

Parail Parai 
(O...IB : Tiihre Level, Env Attack, Env Decay. Etiv Sustain. Env 
Release, A. Bend Depth. A. Bend Rate. Detune Depth, VIb Bate. Vib 
Bavefon, Vlb Depth, Vib Delay. Vlh Bise Tiae, Vlb Hod Depth. Chrs 
Level, Chrs Rate, Chrs Feedhadi, Rev Level, Dlay Feedback) 

ParaB2 « (0...B3 : 00... 6, 7... 31, 64... 95, Off) 

Parai2 Parai (Saie as Parail) 

Parai3 # (0...63 : OO... 5. 7... 31. 64... 95. Off) 

Parm3 Paras (Saie as Parail) 

Total size ' 00 00 ZSU 



188 



[Table 


17] 




10 04 GO 






61 






62 






63 






64 






65 






66 







Sound Patch Rhythm Part Parameter (individual) 

RliytliB Setup # (Q. . . 3 : 1. . . 4) 
Voice Reserve (0...30 : 0...3a) 
Receive Ctiannel {D...1E : D1...16,on) 
Level (0...i2T ; D...I27) 
Level Boost <0...1 : Off. On) 
Rn VoluM (Q...1 : Off. On) 
fix Hold (0...1 : Off. On) 

Total size = DO OD OTH 



[Table 20] Rhythm Setup Parameter (Individual) 

Bildress DTl BQ! 

11 DO 00 t * Setup Haiel lover 4blt 
01 t t Setup NaKi lipper 4blt 

IT * t Setup NaoelZ Upper 4bit 

IB * * Bender Range Lower {D...i6 : -36, -24,-12... 0) 

19 * t Bender Range Upper (0... 12 .' 0... 12] 

Total size = DO DO lAB 



10 05 00 






01 






02 






03 






04 






05 






06 






07 






OB 






09 






OA 






OB 






OC 







[Table 18] Sound Patch Parti Parameter (Individual) 



TiBbre NUBber (0...IZ7 : All.. .888) 
Voice Reserve {0...30 : D...30) 
Receive Qiannel (D...1E : 1... IE, Off) 
Key Range Low (0...127 : C-I...aB) 
Key Range Hi (0...12T : C-I...G3) 
Velo Range Mln (l...i27 : I... 127) 
Velo Range Viax (1...127 : 1...12T) 
Output Assign (0.,,3 : Dry.Rev.Cho.DIr) 
Level (O...IZJ : 0...12T) 
Pan (0...15 : 7>..><...<T,Hnd) 
Bl VolUBe (0. . . 1 : Off, On) 
Rx Pan (0. . . 1 : Off, to) 
Rx Hold (0. . . 1 : Off, On) 

Total size ° DO DD DDH 



[Table 19] Timbre Parameter [1] (Individual) 

address DTI ROl 

10 10 00 * * TlBbre NBBel Lower 4blt 
01 * * TlBbre Naee! Upper 4blt 

17 * * TlBbre Harel2 Uwier 4blt 



Tone Hedia (0...31 : 1.01.. .31) 
Tone HuBber (0...12T : 1...128) 
TlBbre Level (0...127 : 0...1Z7) 
Velocity Sens {1...15 : -T...+T) 
Channel Press Sens (L..i5 : -7...+T) 
Env Attack Rate {L..15 : -7...+?) 
Env Decay Rate (1. , . IS : -7. . . +7) 
Env Sustain Level (1...15 : ~7...+7) 
Env Release Hate (1...15 : 
Pitch Shift Coaree (B...56 
Pitch Shift Fine {U...U4 
Bend Range Lower (0. . . 15 : 
Bend Range Upper (0. . . 12 : 
Channel After Sens (0...27 
Poly After Sens (0. . . Z7 
Auto Bend Depth (0...27 



18 * 




19 * 




lA « 




IB * 




IC » 




ID * 




IE » 




IF * 




20 » 




21 * 




22 * 




23 * 




24 * 




25 * 




26 * 




27 * 




28 * 




29 * 




2A * 




2B * 




2C * 




2D * 




2E * 




2F * 




30 » 




31 * 





[Table 21] Rhythm Setup Parameter lnst = B1 (Individual) 



ToneUedis (a...31 : 1.D1...31) 

Tone ftiBber {0...1Z7 : 1...12a) 

Source Key (0...127 : C-1...G9) 

aute Inst (34... Oa : Off.B3...D7) 

Inst Level (0...31 : 0...3I) 

Velocity Sens (I...iS ; -7... +7) 

Env Mode (0...! : Sustain, No Sustain) 

Env Attack Hate {1...1B : -7... +7) 

Env Decay Bate {1...15 : -7... +7) 

Env Release Bate 11...1S : ~7...+7) 

Pitch ailft Coarse (0...Z7 : -36, -24, -IZ. . . . +12) 

Pitch Shift Fine (34...IU : -50.. .+50) 

Channel After Sens (0...27 : -36,-24. -12.... +12) 

Poly After Sens to.. .27 : -36. -24, -12.... +-12) 

RendoB (0...35 : DO... 15) 

Auto Bend Depth {0...27 : -36, -24, -IZ.... +12) 

Auto Bend Rate (0...15 : 0...15) 

Detune Depth {0...16 : 0...S5) 

Output Assign (0...3 : Dry,Bev,aio,Dir) 

Pan {0...1S : 7J..><...<7,End) 

Total size = 00 00 14H 



[Table 22] Mode Changes 

60 00 00 * K«*oanl Patch (DATA will be ignored) 

60 00 01 ♦ Sound Patch (DATA Will be ignored) 

60 00 02 * Link (DATA will be ignored) 

60 DO 03 t Part {0...5 : Parti. .. Par6) 

BO 00 04 * R.Part (DATA wllJ be Ignored) 

BO 00 05 ♦ iOU Play (DATA will be ignored) 



11 23 DO 






01 






02 






03 






04 






05 






06 






07 






OS 






09 






DA 






OB 






OC 






OD 






OE 






OF 






10 






U 






12 






13 







-7... +7) 

; -24... +24) 

: -50... +50) 

-36.-Z4,-12...0) 

00... 12) 

: -36,-Z4,-12....*12) 
-36, -24. -12.... +12) 
-36,-24. -12.... +12) 



Auto Bend Rate (0. . . 15 : 0. . . 15) 

Detune Depth (0...15 : 0...1S) 

Rate (0...E3 : 0...63) 

Baveforn (O.-.B : Trl, Sine, Square, SawUp. SawDm. Randal.. .4) 

Depth (0, . . 15 : 0. . . 15) 

Delay (D...15 ; 0...15) 

Rise Tl»e (0...15 : 0...15) 

Malulation Depth (D...15 ; 0...15) 

Ch After Sens (0...1S : 0...I5) 

Poly After Sens (0. . . 15 : 0. . . 15) 



Total size ' 00 DO 321i 



189 



address 

00-00-00+ 



OD-01-OO-t 



Block 

setup Kiory I 
Ikybd patch teap I 



0O-0Z-00+ 



Idiord tOBp 



00-06-00+- 



Isoumi patdi teip I 



OO-IO-OO-H 



itlBbre teip 



I 
0D-1B-00+- 



Irtiytlu setup teip I 



01-0(1-00+- 



jkei^ioarct patch I 



02-00-00+ 



; tiibre 



03-00-00+- 



I sound patch 



05-00-00+ 



I HhyttiB setup 



0E-O0-O0+- 



Ichonl set 



O8-O0-OO+- 



I RAM card all 



I individual Paraseter Control ] 

1O-OD-O0+- 

1O-O1-O0+- 



10-02-00 



10-04-00 
10-04-60 



10-06-00 



10-10-00 



setup 



keyboard patch I 



chord 



sound patdi con 



sound latdi itiy I 



sound patch 



ttnbreCl] 50b)tes! 



Sub Block 



IchDitl 1 I 



IcttoRl 2 I 



itiibre [1] I 

H +, 

itiihre [23 I 

H + 

itlihre [33 I 

Itlihre [4} 1 

+ + 

ItlBbre [5] i 

ItlBbre [63 ! 



I chord 1 



j chord 2 



Ipart ! 



I part 2 



Ipart 3 



Ipart 4 



ipart 5 



Ipart 6 



Itliber 1 I 



ItlBbre 2 I 



ItlBbre 3 I 



Beference 



I Table 1 I 



I Table 2 



I Table 3 



I Table 4 



I Table E 




! Table 13 



I Table 14 



I Table 15 



I Table 16 | 



I Table 17 I 



I Table IS I 



liable 19 I 



11-00-00 



11-23-00 



Bhythi seUp cob 



Hhy setup lnst"Bl 



Itlibre A 



Itlibre 5 



ItlBbre G 



I Inst-Bl 



i lnst=D7 



[ Kode ChBOEes ] 

6OH)O-0O+~ 

IFlay Bode change 



I Table 20 



I Table 21 



STable 22 



190 



Model u-20 MIDI Implementation Chart 



Version : 1.02 



Function ■ • • 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channel Changed 


1 -16 
1 -16 


1 -16 
1 -16 


Memorized 


Default 
Mocie Messages 
Alterd 


Mode 3 

X 


Mode 3 

X 




Note 

Number "^"^ ^^^^ 


0-127 


0-127 
0-127 




,, , . Note ON 
^"*°°'^ Note OFF 


O v=1 -127 
O v=1 -127 


O v=1 -127 

O v = 0-127. 9n v = 




After Key's 
Touch Ch's 


X 

* 


O 
O 




Pitch Bender 


* 


* - 36 - +12 


9 bit resolution 


0-5. 7-31, 64-95 

1 

7 

10 
Control g4 

Change 

100, 101 
6, 38 

121 


* (assignable) 

* 
* 
* 
* 

** (0, 1) 

* * * 

X 


* (assignable) 

O 
* 
* 
* 

** (0. 1) 

* * * 

o 


Modulation 
Volume 
Panpot 
Hold 1 

RPN LSB. MSB 

Data Entry MSB, LSB 

Reset All Controllers 


Prog 

Change True # 


* - 1 27 


* 0-127 
0-127 




System Exclusive 


* 


* 




_ ^ Song Pos 
System „ _ , 

Song Sel 
Common „ 

Tune 


X 
X 
X 


X 
X 
X 




System Clock 
Real Time Commands 


X 
X 


X 
X 




Local ON/OFF 
Aux All Notes OFF 
Messages Active Sense 

Reset 


X 
X 

* 

X 


O 
O 
O 

X 




^1 . * Can be set to O or x manually, and memorized. 

* * Can be set to O or x manually. 

* **RPN = Registered Parameter Number. 

RPN # : Pitch Bend Sensitivity 
RPN # 1 : Master Tune 



Mode 1 : OMNI ON. POLY 
Mode 3 : OMNI OFF. POLY 



Mode 2 : OMNI ON. MONO 
Mode 4 : OMNI OFF. MONO 



O : Yes 
X : No 



I How to read a MIDI Implementation Chart 



O :MIDI data that can be transmitted or 

received 
X :MIDI data that cannot be transmitted or 

received 

• : Transmission or reception can be turned 

on or off. The setting is remembered even 
when the power is turned off. 

• Basic Channel 

The MIDI channel for transmitting 
(receiving) MIDI data can be specified over 
this range. The MIDI channel settiog is 
remembered even when the power is turned 
off. 

• Mode 

Most recent synthesizers use mode 3 (omni 

off, poly). 

Reception : Data is received only on the 

specified channels , and 

played polyphonically. 
Transmission : All musical data is 

transmitted on the specified 

MIDI channel 

* "Mode" refers to MIDI Mode messages. 

• Note Number 

This is the range of note number that can 
be transmitted (received. Note number 60 is 
middle C (C4)). 

• Velocity 

This is the range over which velocity can 
be transmitted (received) by Note On and 
Note Off messages. 



I Aftertouch 

Key's : polyphonic aftertouch 
Ch's : channel aftertouch 

k Pitch Bender 

The bender range setting of each Timbre 
detennines the range of pitch change 
caused by pitch bender data. When set to 
0, pitch bender data will be ignored. 

k Control Change 

This indicates the control numbers that can 
be transmitted (received), and what they 
will control. For details, refer to the MIDI 
implementation. 

k Program Change 

The program change ntmibere in the chart 
indicate the actual data. (This is one less 
than the Pitch and Timbre program 
numbers.) 

t Exclusive 

Exclusive message reception can be turned 
on /off by the exclusive switch (setup). 

> Common, Realtime 

These MIDI messages are used to 
synchronize sequencers and rhythm 
machines. The U-20 does not use these 
messages. 

» Other 

These messages are mainly used to keep a 
MIDI system running correctly. Active 
sensing transmission can be turned on/ off. 



192 



Main Specifications 



Main Specifications 



U-20 : RS-PCM keyboard 



1 Keyboard 






•Weight 


61 keys (with velocity and channel 


10 kg/22 lbs 


aftertouch) 






•Power Consumption 


(Sound Generator 






20 W 


RS-PCM Sound Generation 








Maximiun Voices : 30 voices 






•Accessories 

Owners Manual 


llnternal Memory 






Sound Patch Chart 


Setup : 




1 


Guarantee 


Keyboard Patches : 




64 


Connection Cable (PJ-IM) 


Chord Sets : 




8 




Sound Patches : 




64 


•Options 


Timbres : 




128 


RAM Card (Memory Card) M-256E 


Rhythm Sets (64 keys : Bl- 


'D7): 


4 


PCM Card (Sound Library) 


Internal Tones : 




128 


SN-UllO series 
Stereo Headphones RH-100 


IRAM Card (M-256E) 






Foot Switch DP-2, DP-6 


Setup : 




1 


Expression Pedal EV-5. EV-10 


Keyboard Patches : 




64 


MI!)I/SYNC Cable 


Chord Sets : 




8 


MSC-07, 15, 25, 50, 100 


Sound Patches : 




64 


Semi-hard Case SHC-2 


Timbres : 




128 


Carrying Bag CB-10 


Rhythm Sets (64 keys : Bl - 


-D7): 


4 


Keyboard Stand KS-8 



^Display 

2 line 24 character (with backlight) 

^Dimensions 

985 (W) X 310 (D) X 85 (H) mm 
38-3/4" X 12-1/6" X 3-1/4'' 



* For product improvement , specifications 
and appearance are subject to cl^ange 
without notice. 



193 



Index 



B 



Index 



Aftertouch 26 

Arpeggio Rate 35 

Arpeggio Type 35 

Arpeggio Play 34 

Auto Bend Depth (Rhythm Set) ••■75 

(Timbre) 64 

Auto Bend Rate (Rhythm Set) 75 

(Timbre) 64 

Bender Range (Rhythm Set) 78 

(Timbre). 63 

Bulk Dxmip 145 



Channel Aftertouch Sensitivity 

(Level, Timbre) 62 

(Pitch, Timbre) 64 

(Rhythm Set) 74 

(Vibrato, Timbre) 66 

Chord Play 30 

Chord Set 30, 39 

Chord Set Name 42 

Chord 1/2 Chord Set Select 30 

Key Offset 31 

Retrigger Mode 31 

Chorus /Flanger Depth 54 

Level 54 

Rate 54 

Type 53 

Chorus Switch (Setup) 51 

Common Group 90 

Control Number 

(Keyboard Patch) 104 

(Sound Patch) 105 

Ctrl Group 90 



D 



Data Mode 15, 128 

Delay Time (Sound Patch) 54 

(Vibrato, Timbre) 66 

Depth (Vibrato, Timbre) 66 

Detune Depth (Rhythm Set) 75 

(Timbre) 64 

Device ID 107, 144 

Edit Mode • 15, 124 

Edit Procedure 124 

Effect Group (Sound Patch) 53 

Env Attack Rate (Rhythm Set) ■ • • 73 

(Timbre) 62 

Env Decay Rate (Rhythm Set) • • • 73 

(Tunbre) 62 

Envelope Mode (Rhythm Set) 73 

Env Release Rate (Rhythm Set) • ■ ■ 73 

(Tunbre) 62 

Env Sustain Level (Timbre) 62 

EXT/C1/C2 Control Number 104 

Channel 104 



Feedback (Chorus, Soimd Patch) • ■ ■ 54 
(Reverb, Sound Patch) • • ■ 55 



H 



Hold 28 

Initialize (Internal Data) 147 

(RAM Card) 129 

Jump 24, 125 



194 



Index 



K 

Kybd Group • 90 

Keyboard Patch Mode 15, 20. 122 

Keyboard Patch Name 36 

Key Range 95 

Key Transpose 29 

L 

LCD Contrast 44 

Level (Rhythm Set) ■ ■ 73 

Level Boost Switch 

(Rhythm Part) 52 

Level Group (Rhythm Set) 72 

Level Group (Timbre) 61 

Link Play Mode 15, 18, 122 

Load 142 

Local Control Switch 108 

M 

Master Tuning 23 

MIDI Group (Keyboard Patch) 89 

(Setup) 89 

(Sound Patch) "89 

MIDI Monitor 149 

Modulation Lever Depth 

(Vibrato, Timbre) 66 

Mute (Rhythm Set) 72 

N 

Name (Chord Set) 42 

(Keyboard Patch) 36 

(Rhythm Set) 78 

(Sound Patch) 57 

(Timbre) 67 

O 

Output Assign (Rhythm Set) 76 

(Sound Patch) 50 

Output Group (Rhythm Set) 76 

(Soimd Patch) 50 

Output Mode 53 



R 



Pan (Sound Patch) •••• 51 

(Rhythm Set) 76 

Parameter Dump 146 

Parameter Select (Sotmd Patch) — 105 
Part Level 

(Parti —6, Sound Patch) 51 

(R.Part, Sound Patch) 52 

Part Play Mode 15. 19. 123 

Parti —6 Group 90, 94 

Patch Dump 146 

Patch Dump Switch 107 

PCM Card 60 

Pitch Group (Rhythm Set) 74 

(Timbre) 63 

Pitch Randomize (Rhythm Set) 75 

Pitch Shift Coarse (Tunbre) 63 

(Rhythm Set) •■•74 

Pitch Shift Fine (Timbre) 63 

(Rhythm Set) 74 

Play Mode 15, 120 

Polyphonic Aftertouch Sensitivity 

(Pitch. Timbre) ■ ■ -64 

(Rhythm Set) 75 

(Vibrato, Timbre) 66 

RAM Card 128 

Rate (Vibrato, Timbre) 65 

Reverb/ Delay Level 55 

Time • 55 

Type 55 

Reverb Switch (Setup) 51 

Rhythm Play Mode 15. 21. 123 

Rhythm Set Name 78 

Rhythm Set Select 52 

Rise Time (Vibrato, Timbre) 66 

ROM Play Mode 12. 15 

R.Part Group 90, 94 

Rx Ch (Part 1—6, Sound Patch) •■•94 

(R.Part, Sound Patch) 94 

Rx Control Ch (Kybd, Setup) 97 

(Sound, Setup) 97 



195 



index 



Rx Hold Switch 106 

Rx Pan Switch 106 

Rx System Exclusive 

Switch 107, 144 

Rx Timbre Change Switch 97 

Rx Volume Switch 106 

Save 142 

Sound Group 90 

Sound Patch Mode 15, 20, 122 

Sound Patch Name 56 

Source Key (Rhythm Set) 72 

Timbre Level 61 

Timbre Name ■ -67 

Timbre Select 50 

Tone 46 

Tone Select (Rhythm Set) 71 

(Timbre) 59 

Tx Active Sensing Switch 108 

Tx Arpeggio Ch 92 

Tx Ch 92 

Tx Channel Aftertouch Switch 93 

Tx Control Ch 100 

Tx Control Change Switch 105 

Tx Program Change Switch- •• 100 

Tx Program Change Number 100 

Tx Setup Ch 93 



U 
Utility 147 

V 

Velocity 26 

Velocity Offset 1 15 

Velocity Range (Sound Patch) 95 

Velocity Sensitivity 

(Keyboard Patch) 115 

(Rhythm Set) 73 

(Timbre) • • 61 

Vib Group 65 

Voice Reserve 

(Parti ~6, Sound Patch) 117 

(RJPart, Sound Patch) 117 

W 

Waveform (Vibrato, Timbre) 65 

Write Procedure 

(Chord Set) 43, 139 

(Keyboard Patch) 37, 133 

(MIDI) 108 

(Rhythm Set) 79, 139 

(Sound Patch) 57, 133 

(Simimary) 131 

(Timbre) 68, 136 



196 



' 


For Nordic CcHJntnes \ 

Apparatus containing Lithium batteries 




ADVARSEL! 

Ulhiumbatteri - Eksplosionsfare vet) fejlagtig 

hSncltering. 

Udskiftntng mcl kun ske med batterl af samme 

tabrlkat oq ^pe. 

Lever del bruQte batleri tilbage til leveranderen. 




VARNING! 

Explosionsfara vid felaktigt batlsribyte, 
AnvSnd samma batmrityp etler en ekvivaient typ 
som rekammenderas av apparattillverkaren. 
Kassera anvant battsri enligt tabrikantens 
instruktion. 
















ADVARSEL! 

LEtftiumbatteri - EksplosjonslarG. 

Ved utskiftiPB benyttes kun batlEri som anbefatt 

av apparatfabrikanten. 

Brukt batteii rettimeres apparaUeverandarsn. 




VAROITUS! 

Paristo voi rajShtda, jos se on virtieeliisesti 

asennettu. 

Vaihda paristo ainoastaan laitevatmistajan 

suosltteiemaan tyyppiin. H^vitS kSytetty paristo 

vaimistajan objelden mukaisesti. 















For Germany 



Besciieinigung des Herstellers/lmporteurs 



Hiermif wird beschetnigt, daS der/die/das 
ROLANp_ RS;PCM KEYBOARD U;20_ 

(Gerat. Typ. Bezsichnung) 



in Obereinstimmung mit den Bestimmungen der 

Amtsbl.Vfg 1046/1 984 

(AmtsblatfverfOgung) 



funk-entstort ist. 

Der Deutschen Bundespost wurde das Inverkehrbringen dieses Gerates angezeigt und die Berechtigung zur Oberprufung 

der Serie auf Einhaltung der Bestimmungen eingeraumt 



Roland Corporation Osaka/Japan 



Name des Hersteliers/lmporleurs 



For the USA 



FEDERAL COMMUNICATIONS COMMISSION 
RADIO FREQUENCY INTERFERENCE STATEMENT 

This equipment has bean tested and found to comply with the limits for a Class B digital device, pursuant to Part 1 5 of the FCC 
Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This 
equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the 
instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not 
occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be 
determined by fuming the equipment off and on, the user is encouraged to fry to correct the interference by one or more of the 
following measures: 

- Reorient or relocate the receiving antenna. 

- Increase the separation between the equipment and receiver. 

- Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. 

- Consult the dealer or an experienced radio/TV technician for help. 

Unauthorized changes or modification to this system can void the users authority to operate this equipment. 
This equipment requires shielded interface cables in order to meet FCC class B Limit. 



For Canada 



CLASS B NOTICE 

This digital apparatus does not exceed the Class B limits for radio noise emissions set out in the Radio Interference 
Regulations of the Canadian Department of Commumcations. 



CLASSE B AVIS 

Cet appareil numerique ne d^passe pas les iimites de la ciasse B au niveau des Amissions de bruits radioelectriques fixes 
dans le R^glament des signaux parasites par !e ministere Canadian des Communications. 



[^Roland 
10495 



UPC 10496 



Roland Corporation 



2B025B95 '9d-8-A2-17D